Auditory rhythm facilitates perception and action in children at risk for developmental coordination disorder.

Developmental Coordination Disorder (DCD) is a common neurodevelopmental disorder featuring deficits in motor coordination and motor timing among children. Deficits in rhythmic tracking, including perceptually tracking and synchronizing action with auditory rhythms, have been studied in a wide range of motor disorders, providing a foundation for developing rehabilitation programs incorporating auditory rhythms. We tested whether DCD also features these auditory-motor deficits among 7-10 year-old children. In a speech recognition task with no overt motor component, modulating the speech rhythm interfered more with the performance of children at risk for DCD than typically developing (TD) children. A set of auditory-motor tapping tasks further showed that, although children at risk for DCD performed worse than TD children in general, the presence of an auditory rhythmic cue (isochronous metronome or music) facilitated the temporal consistency of tapping. Finally, accuracy in the recognition of rhythmically modulated speech and tapping consistency correlated with performance on the standardized motor assessment. Together, the results show auditory rhythmic regularity benefits auditory perception and auditory-motor coordination in children at risk for DCD. This provides a foundation for future clinical studies to develop evidence-based interventions involving auditory-motor rhythmic coordination for children with DCD.

Interdependence of movement amplitude and tempo during self-paced finger tapping: evaluation of a preferred velocity hypothesis.

This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g., the desired pace of walking or tempo of music). The preferred velocity hypothesis proposes that assessments of preferred tempo do not represent a pure time preference independent of spatial movement characteristics, but rather reflects a preference for an average movement velocity, predicting that preferred tempo will depend on movement amplitude. We tested this by having participants first perform a novel spontaneous motor amplitude (SMA) task in which they repetitively tapped their finger at their preferred amplitude without instructions about tapping tempo. Next, participants completed the spontaneous motor tempo (SMT) task in which they tapped their finger at their preferred tempo without instructions about tapping amplitude. Finally, participants completed a target amplitude version of the SMT task where they tapped at their preferred tempo at three target amplitudes (low, medium, and high). Participants (1) produced similar amplitudes and tempi regardless of instructions to produce either their preferred amplitude or preferred tempo, maintaining the same average movement velocity across SMA and SMT tasks and (2) altered their preferred tempo for different target amplitudes in the direction predicted by their estimated preferred velocity from the SMA and SMT tasks. Overall, results show the interdependence of movement amplitude and tempo in tapping assessments of preferred tempo.

Contribution of speech rhythm to understanding speech in noisy conditions: Further test of a selective entrainment hypothesis.

Previous work by McAuley et al. Attention, Perception, & Psychophysics, 82, 3222-3233, (2020), Attention, Perception & Psychophysics, 83, 2229-2240, (2021) showed that disruption of the natural rhythm of target (attended) speech worsens speech recognition in the presence of competing background speech or noise (a target-rhythm effect), while disruption of background speech rhythm improves target recognition (a background-rhythm effect). While these results were interpreted as support for the role of rhythmic regularities in facilitating target-speech recognition amidst competing backgrounds (in line with a selective entrainment hypothesis), questions remain about the factors that contribute to the target-rhythm effect. Experiment 1 ruled out the possibility that the target-rhythm effect relies on a decrease in intelligibility of the rhythm-altered keywords. Sentences from the Coordinate Response Measure (CRM) paradigm were presented with a background of speech-shaped noise, and the rhythm of the initial portion of these target sentences (the target rhythmic context) was altered while critically leaving the target Color and Number keywords intact. Results showed a target-rhythm effect, evidenced by poorer keyword recognition when the target rhythmic context was altered, despite the absence of rhythmic manipulation of the keywords. Experiment 2 examined the influence of the relative onset asynchrony between target and background keywords. Results showed a significant target-rhythm effect that was independent of the effect of target-background keyword onset asynchrony. Experiment 3 provided additional support for the selective entrainment hypothesis by replicating the target-rhythm effect with a set of speech materials that were less rhythmically constrained than the CRM sentences.

The effect of rhythm on selective listening in multiple-source environments for young and older adults.

Understanding continuous speech with competing background sounds is challenging, particularly for older adults. One stimulus property that may aid listeners understanding of to-be-attended (target) material is temporal regularity (rhythm). In the context of speech-in-noise understanding, McAuley and colleagues recently showed a target rhythm effect whereby recognition of target speech was better when natural speech rhythm of a target talker was intact than when it was temporally altered. The current study replicates the target rhythm effect using a synthetic vowel sequence paradigm in young adults (Experiment 1) and then uses this paradigm to investigate potential age-related changes in the effect of rhythm on recognition (Experiment 2). Listeners identified the last three vowels of temporally regular (isochronous) and irregular (anisochronous) synthetic vowel sequences in quiet and with a competing background sequence of vowel-like harmonic tone complexes presented at various tempos. The results replicated the target rhythm effect whereby temporal regularity in the vowel sequences improved identification accuracy of young listeners compared to irregular vowel sequences. The magnitude of the effect was not found to be influenced by background tempo, but faster background tempos led to greater vowel identification accuracy independent of regularity. Older listeners also demonstrated a target rhythm effect but received less benefit from the temporal regularity of the target sequences than did young listeners. This study highlights the importance of rhythm for understanding age-related differences in selective listening in complex environments and provides a novel paradigm for investigating effects of rhythm on perception.

Differential sensitivity to speech rhythms in young and older adults.

Sensitivity to the temporal properties of auditory patterns tends to be poorer in older listeners, and this has been hypothesized to be one factor contributing to their poorer speech understanding. This study examined sensitivity to speech rhythms in young and older normal-hearing subjects, using a task designed to measure the effect of speech rhythmic context on the detection of changes in the timing of word onsets in spoken sentences. A temporal-shift detection paradigm was used in which listeners were presented with an intact sentence followed by two versions of the sentence in which a portion of speech was replaced with a silent gap: one with correct gap timing (the same duration as the missing speech) and one with altered gap timing (shorter or longer than the duration of the missing speech), resulting in an early or late resumption of the sentence after the gap. The sentences were presented with either an intact rhythm or an altered rhythm preceding the silent gap. Listeners judged which sentence had the altered gap timing, and thresholds for the detection of deviations from the correct timing were calculated separately for shortened and lengthened gaps. Both young and older listeners demonstrated lower thresholds in the intact rhythm condition than in the altered rhythm conditions. However, shortened gaps led to lower thresholds than lengthened gaps for the young listeners, while older listeners were not sensitive to the direction of the change in timing. These results show that both young and older listeners rely on speech rhythms to generate temporal expectancies for upcoming speech events. However, the absence of lower thresholds for shortened gaps among the older listeners indicates a change in speech-timing expectancies with age. A further examination of individual differences within the older group revealed that those with better rhythm-discrimination abilities (from a separate study) tended to show the same heightened sensitivity to early events observed with the young listeners.

Using Motor Tempi to Understand Rhythm and Grammatical Skills in Developmental Language Disorder and Typical Language Development.

Children with developmental language disorder (DLD) show relative weaknesses on rhythm tasks beyond their characteristic linguistic impairments. The current study compares preferred tempo and the width of an entrainment region for 5- to 7-year-old typically developing (TD) children and children with DLD and considers the associations with rhythm aptitude and expressive grammar skills in the two populations. Preferred tempo was measured with a spontaneous motor tempo task (tapping tempo at a comfortable speed), and the width (range) of an entrainment region was measured by the difference between the upper (slow) and lower (fast) limits of tapping a rhythm normalized by an individual's spontaneous motor tempo. Data from N = 16 children with DLD and N = 114 TD children showed that whereas entrainment-region width did not differ across the two groups, slowest motor tempo, the determinant of the upper (slow) limit of the entrainment region, was at a faster tempo in children with DLD vs. TD. In other words, the DLD group could not pace their slow tapping as slowly as the TD group. Entrainment-region width was positively associated with rhythm aptitude and receptive grammar even after taking into account potential confounding factors, whereas expressive grammar did not show an association with any of the tapping measures. Preferred tempo was not associated with any study variables after including covariates in the analyses. These results motivate future neuroscientific studies of low-frequency neural oscillatory mechanisms as the potential neural correlates of entrainment-region width and their associations with musical rhythm and spoken language processing in children with typical and atypical language development.

Exploring individual differences in musical rhythm and grammar skills in school-aged children with typically developing language.

A growing number of studies have shown a connection between rhythmic processing and language skill. It has been proposed that domain-general rhythm abilities might help children to tap into the rhythm of speech (prosody), cueing them to prosodic markers of grammatical (syntactic) information during language acquisition, thus underlying the observed correlations between rhythm and language. Working memory processes common to task demands for musical rhythm discrimination and spoken language paradigms are another possible source of individual variance observed in musical rhythm and language abilities. To investigate the nature of the relationship between musical rhythm and expressive grammar skills, we adopted an individual differences approach in N = 132 elementary school-aged children ages 5-7, with typical language development, and investigated prosodic perception and working memory skills as possible mediators. Aligning with the literature, musical rhythm was correlated with expressive grammar performance (r = 0.41, p < 0.001). Moreover, musical rhythm predicted mastery of complex syntax items (r = 0.26, p = 0.003), suggesting a privileged role of hierarchical processing shared between musical rhythm processing and children's acquisition of complex syntactic structures. These relationships between rhythm and grammatical skills were not mediated by prosodic perception, working memory, or non-verbal IQ; instead, we uncovered a robust direct effect of musical rhythm perception on grammatical task performance. Future work should focus on possible biological endophenotypes and genetic influences underlying this relationship.

Auditory rhythm discrimination in adults who stutter: An fMRI study.

Rhythm perception deficits have been linked to neurodevelopmental disorders affecting speech and language. Children who stutter have shown poorer rhythm discrimination and attenuated functional connectivity in rhythm-related brain areas, which may negatively impact timing control required for speech. It is unclear whether adults who stutter (AWS), who are likely to have acquired compensatory adaptations in response to rhythm processing/timing deficits, are similarly affected. We compared rhythm discrimination in AWS and controls (total n = 36) during fMRI in two matched conditions: simple rhythms that consistently reinforced a periodic beat, and complex rhythms that did not (requiring greater reliance on internal timing). Consistent with an internal beat deficit hypothesis, behavioral results showed poorer complex rhythm discrimination for AWS than controls. In AWS, greater stuttering severity was associated with poorer rhythm discrimination. AWS showed increased activity within beat-based timing regions and increased functional connectivity between putamen and cerebellum (supporting interval-based timing) for simple rhythms.

Using music to probe how perception shapes imagination.

Recent work using music highlights how past experiences and the immediate perceptual environment can shape imagination. Given that aspects of past experiences can be shared, depending on culture, as can the immediate perceptual environment, imaginings that might appear idiosyncratic or entirely subjective can in fact be broadly shared.

When did that happen? The dynamic unfolding of perceived musical narrative.

People readily imagine narratives in response to instrumental music. Although previous work has established that these narratives show broad intersubjectivity, it remains unclear whether these imagined stories are atemporal, or unfold systematically over the temporal extent of a musical excerpt. To investigate the dynamics of perceived musical narrative, we had participants first listen to 16 instrumental musical excerpts, which had previously been normed for factors of interest. While listening, participants continuously moved a slider to indicate their fluctuating perceptions of tension and relaxation. In a separate experimental session, participants reported the stories they imagined while listening to each excerpt, and then, while listening to the excerpts a final time, clicked a mouse to mark the time points at which they imagined new events in the ongoing imagined story. The time points of these event markings were not uniformly distributed throughout the excerpts, but were clustered at distinct moments, indicating that imagined narratives unfold in real time and entail general consensus about when listeners imagine events in the music. Moreover, the time points at which people tended to imagine events were correlated with the time points at which people tended to perceive salient changes in musical tension, as separately recorded within the first experimental session. The degree of alignment was greater for excerpts high in narrativity than those low in narrativity. Together, these results show that music can dynamically guide a listener's imagination and there is remarkable intersubjectivity in 'when' hear imagined story events in a piece of music.

Genome-wide association study of musical beat synchronization demonstrates high polygenicity.

Moving in synchrony to the beat is a fundamental component of musicality. Here we conducted a genome-wide association study to identify common genetic variants associated with beat synchronization in 606,825 individuals. Beat synchronization exhibited a highly polygenic architecture, with 69 loci reaching genome-wide significance (P < 5 × 10-8) and single-nucleotide-polymorphism-based heritability (on the liability scale) of 13%-16%. Heritability was enriched for genes expressed in brain tissues and for fetal and adult brain-specific gene regulatory elements, underscoring the role of central-nervous-system-expressed genes linked to the genetic basis of the trait. We performed validations of the self-report phenotype (through separate experiments) and of the genome-wide association study (polygenic scores for beat synchronization were associated with patients algorithmically classified as musicians in medical records of a separate biobank). Genetic correlations with breathing function, motor function, processing speed and chronotype suggest shared genetic architecture with beat synchronization and provide avenues for new phenotypic and genetic explorations.

Narratives imagined in response to instrumental music reveal culture-bounded intersubjectivity.

The scientific literature sometimes considers music an abstract stimulus, devoid of explicit meaning, and at other times considers it a universal language. Here, individuals in three geographically distinct locations spanning two cultures performed a highly unconstrained task: they provided free-response descriptions of stories they imagined while listening to instrumental music. Tools from natural language processing revealed that listeners provide highly similar stories to the same musical excerpts when they share an underlying culture, but when they do not, the generated stories show limited overlap. These results paint a more complex picture of music's power: music can generate remarkably similar stories in listeners' minds, but the degree to which these imagined narratives are shared depends on the degree to which culture is shared across listeners. Thus, music is neither an abstract stimulus nor a universal language but has semantic affordances shaped by culture, requiring more sustained attention from psychology.

Do you hear what I hear? Perceived narrative constitutes a semantic dimension for music.

Music has attracted longstanding debate surrounding its capacity to communicate without words, but little empirical work has addressed the topic. Here, 534 participants in the US and a remote region of China participated in two experiments using a novel paradigm to investigate narrative perceptions as a semantic dimension of music. Participants listened to wordless musical excerpts and determined which of two presented stories was the correct match. Correct matches were stories previously imagined by individuals from the US or China in response to each of the excerpts, while foils were correct matches to one of the other tested excerpts. Results revealed that listeners from Arkansas and Michigan had no difficulty matching the music with stories generated by Arkansas listeners. Wordless music, then, far from an abstract stimulus, seems to engender shared, concrete narrative perceptions in listeners. These perceptions are stable and robust for within-culture participants, even at geographically distinct locales (e.g. Arkansas and Michigan). This finding refutes the notion that music is an asemantic medium. In contrast, participants in both the US and China had more difficulty determining correct story-music matches for stories generated by participants from another culture, suggesting that a sufficiently shared pool of experiences must exist for strong intersubjectivity to arise.

Effects of speech-rhythm disruption on selective listening with a single background talker.

Recent work by McAuley et al. (Attention, Perception, & Psychophysics, 82, 3222-3233, 2020) using the Coordinate Response Measure (CRM) paradigm with a multitalker background revealed that altering the natural rhythm of target speech amidst background speech worsens target recognition (a target-rhythm effect), while altering background speech rhythm improves target recognition (a background-rhythm effect). Here, we used a single-talker background to examine the role of specific properties of target and background sound patterns on selective listening without the complexity of multiple background stimuli. Experiment 1 manipulated the sex of the background talker, presented with a male target talker, to assess target and background-rhythm effects with and without a strong pitch cue to aid perceptual segregation. Experiment 2 used a vocoded single-talker background to examine target and background-rhythm effects with envelope-based speech rhythms preserved, but without semantic content or temporal fine structure. While a target-rhythm effect was present with all backgrounds, the background-rhythm effect was only observed for the same-sex background condition. Results provide additional support for a selective entrainment hypothesis, while also showing that the background-rhythm effect is not driven by envelope-based speech rhythm alone, and may be reduced or eliminated when pitch or other acoustic differences provide a strong basis for selective listening.

Monkey see, monkey tap: mimicry of movement dynamics during coordinated tapping.

Common social behaviors, such as having a conversation, dancing, or playing a team sport, require precise interpersonal coordination of action. One question that emerges in research on interpersonal coordination is to what extent individuals implicitly mimic the spatial characteristics of movements for tasks that emphasize movement timing. To investigate this question, we conducted two experiments using an interpersonal synchronization-continuation tapping paradigm in which pairs of individuals tapped with their index finger on a table in synchrony with an auditory metronome and then continued tapping at the same tempo when the metronome stopped. Pairs of individuals tapped either together with the instruction to maintain synchrony with each other (interpersonal tapping) or tapped alone (solo tapping). Solo tapping conditions either occurred with their tapping partner present in the testing room (Experiment 1) or absent (Experiment 2). We used motion capture to examine both the spatial and temporal aspects of movement dynamics during task performance. In both experiments, participants implicitly mimicked subtle aspects of spatial elements of their partner's movements. The extent of finger extension (tap amplitude) and, in Experiment 1, duration of finger contact with the surface (dwell time) were correlated between tapping partners when they tapped together. In some cases, this spatial mimicry extended to solo tapping conditions, but only during solo tapping conditions that followed the interpersonal tapping task, and, to a lesser degree, when solo tapping after having observed the other participant solo tapping.

Altering the rhythm of target and background talkers differentially affects speech understanding.

Three experiments investigated listeners' ability to use speech rhythm to attend selectively to a single target talker presented in multi-talker babble (Experiments 1 and 2) and in speech-shaped noise (Experiment 3). Participants listened to spoken sentences of the form "Ready [Call sign] go to [Color] [Number] now" and reported the Color and Number spoken by a target talker (cued by the Call sign "Baron"). Experiment 1 altered the natural rhythm of the target talker and background talkers for two-talker and six-talker backgrounds. Experiment 2 considered parametric rhythm alterations over a wider range, altering the rhythm of either the target or the background talkers. Experiments 1 and 2 revealed that altering the rhythm of the target talker, while keeping the rhythm of the background intact, reduced listeners' ability to report the Color and Number spoken by the target talker. Conversely, altering the rhythm of the background talkers, while keeping the target rhythm intact, improved listeners ability to report the Color and Number spoken by the target talker. Experiment 3, which embedded the target talker in speech-shaped noise rather than multi-talker babble, similarly reduced recognition of the target sentence with increased alteration of the target rhythm. This pattern of results favors a dynamic-attending theory-based selective-entrainment hypothesis over a disparity-based segregation hypothesis and an increased salience hypothesis.

Perceived duration of auditory oddballs: test of a novel pitch-window hypothesis.

Unexpected oddball stimuli embedded within a series of otherwise identical standard stimuli tend to be overestimated in duration. The present study tested a pitch-window explanation of the auditory oddball effect on perceived duration in two experiments. For both experiments, participants listened to isochronous sequences consisting of a series of 400 Hz fixed-duration standard tones with an embedded oddball tone that differed in pitch and judged whether the variable-duration oddball was shorter or longer than the standard. Participants were randomly assigned to either a wide or narrow pitch-window condition, in which an anchor oddball was presented with high likelihood at either a far pitch (850 Hz) or a near pitch (550 Hz), respectively. In both pitch-window conditions, probe oddballs were presented with low likelihood at pitches that were either within or outside the frequency range established by the standard and anchor tones. Identical 700 Hz probe oddballs were perceived to be shorter in duration in the wide pitch-window condition than in the narrow pitch-window condition (Experiments 1 and 2), even when matching the overall frequency range of oddballs across conditions (Experiment 2). Results support the proposed pitch-window hypothesis, but are inconsistent with both enhanced processing and predictive coding accounts of the oddball effect.

Neural activity associated with rhythmicity of song in juvenile male and female zebra finches.

Rhythm is an important aspect of both human speech and birdsong. Adult zebra finches show increased neural activity following exposure to arrhythmic compared to rhythmic song in regions similar to the mammalian auditory association cortex and amygdala. This pattern may indicate that birds are detecting errors in the arrhythmic song relative to their learned song template or to more general expectations of song structure. Here we exposed juvenile zebra finches to natural conspecific song (rhythmic) or song with altered inter-syllable intervals (arrhythmic) prior to or during template formation, or afterward as males are matching vocal production to a memorized song template (sensorimotor integration). Before template formation, expression of the immediate early gene ZENK was increased in the caudomedial nidopallium (NCM) of birds exposed to rhythmic relative to arrhythmic song. During template formation, ZENK expression was increased in the caudomedial mesopallium (CMM) of birds exposed to arrhythmic relative to rhythmic song. These results suggest that the youngest birds may be predisposed to respond to a more natural stimulus, and a template may be required for arrhythmic song to elicit increased neural activity. It also appears that functional development across the brain regions investigated continues to maturity.

Social and Cognitive Impressions of Adults Who Do and Do Not Stutter Based on Listeners' Perceptions of Read-Speech Samples.

Stuttering is a neurodevelopmental disorder characterized by frequent and involuntary disruptions during speech production. Adults who stutter are often subject to negative perceptions. The present study examined whether negative social and cognitive impressions are formed when listening to speech, even without any knowledge about the speaker. Two experiments were conducted in which naïve participants were asked to listen to and provide ratings on samples of read speech produced by adults who stutter and typically-speaking adults without knowledge about the individuals who produced the speech. In both experiments, listeners rated speaker cognitive ability, likeability, anxiety, as well as a number of speech characteristics that included fluency, naturalness, intelligibility, the likelihood the speaker had a speech-and-language disorder (Experiment 1 only), rate and volume (both Experiments 1 and 2). The speech of adults who stutter was perceived to be less fluent, natural, intelligible, and to be slower and louder than the speech of typical adults. Adults who stutter were also perceived to have lower cognitive ability, to be less likeable and to be more anxious than the typical adult speakers. Relations between speech characteristics and social and cognitive impressions were found, independent of whether or not the speaker stuttered (i.e., they were found for both adults who stutter and typically-speaking adults) and did not depend on being cued that some of the speakers may have had a speech-language impairment.