How Do You Feel the Rhythm: Dynamic Motor-Auditory Interactions Are Involved in the Imagination of Hierarchical Timing.

Predicting and organizing patterns of events is important for humans to survive in a dynamically changing world. The motor system has been proposed to be actively, and necessarily, engaged in not only the production but the perception of rhythm by organizing hierarchical timing that influences auditory responses. It is not yet well understood how the motor system interacts with the auditory system to perceive and maintain hierarchical structure in time. This study investigated the dynamic interaction between auditory and motor functional sources during the perception and imagination of musical meters. We pursued this using a novel method combining high-density EEG, EMG, and motion capture with independent component analysis to separate motor and auditory activity during meter imagery while robustly controlling against covert movement. We demonstrated that endogenous brain activity in both auditory and motor functional sources reflects the imagination of binary and ternary meters in the absence of corresponding acoustic cues or overt movement at the meter rate. We found clear evidence for hypothesized motor-to-auditory information flow at the beat rate in all conditions, suggesting a role for top-down influence of the motor system on auditory processing of beat-based rhythms, and reflecting an auditory-motor system with tight reciprocal informational coupling. These findings align with and further extend a set of motor hypotheses from beat perception to hierarchical meter imagination, adding supporting evidence to active engagement of the motor system in auditory processing, which may more broadly speak to the neural mechanisms of temporal processing in other human cognitive functions.SIGNIFICANCE STATEMENT Humans live in a world full of hierarchically structured temporal information, the accurate perception of which is essential for understanding speech and music. Music provides a window into the brain mechanisms of time perception, enabling us to examine how the brain groups musical beats into, for example a march or waltz. Using a novel paradigm combining measurement of electrical brain activity with data-driven analysis, this study directly investigates motor-auditory connectivity during meter imagination. Findings highlight the importance of the motor system in the active imagination of meter. This study sheds new light on a fundamental form of perception by demonstrating how auditory-motor interaction may support hierarchical timing processing, which may have clinical implications for speech and motor rehabilitation.

The interplay of interval models and entrainment models in duration perception.

Despite extensive research demonstrating the effect of temporal context on time perception, its underlying mechanisms remain poorly understood. One influential proposal to explain the temporal context effect is McAuley and Jones' (2003) framework that incorporates 2 classic timing models, interval and entrainment models. They demonstrated that listeners' duration estimates were shifted from reality in opposite directions when to-be-judged durations occurred earlier versus later than an expected beat, which is predicted by their entrainment models. However, it is unclear about how long the entrainment lasts after the cessation of external stimulation. Here, we investigated the persistence of the entrainment effect in 2 experiments. In Experiment 1, we found that entrainment models predict the behaviors better after short delays (2 beats), while interval models predict better after long delays (4 beats). In Experiment 2, we extended the finding to a faster tempo and added 1 more delay length. Again, we found that entrainment was strongest after short delays (2 beats), while disappeared after medium (4 beats) and long delays (8 beats). Our findings suggest an interplay between entrainment and interval timings as a function of delays between successive events. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Music enhances activity in the hypothalamus, brainstem, and anterior cerebellum during script-driven imagery of affective scenes.

Music is frequently used to establish atmosphere and to enhance/alter emotion in dramas and films. During music listening, visual imagery is a common mechanism underlying emotion induction. The present functional magnetic resonance imaging (fMRI) study examined the neural substrates of the emotional processing of music and imagined scene. A factorial design was used with factors emotion valence (positive; negative) and music (withoutMUSIC: script-driven imagery of emotional scenes; withMUSIC: script-driven imagery of emotional scenes and simultaneously listening to affectively congruent music). The baseline condition was imagery of neutral scenes in the absence of music. Eleven females and five males participated in this fMRI study. Behavioural data revealed that during scene imagery, participants' subjective emotions were significantly intensified by music. The contrasts of positive and negative withoutMUSIC conditions minus the baseline (imagery of neutral scenes) showed no significant activation. When comparing the withMUSIC to withoutMUSIC conditions, activity in a number of emotion-related regions was observed, including the temporal pole (TP), amygdala, hippocampus, hypothalamus, anterior ventral tegmental area (VTA), locus coeruleus, and anterior cerebellum. We hypothesized that the TP may integrate music and the imagined scene to extract socioemotional significance, initiating the subcortical structures to generate subjective feelings and bodily responses. For the withMUSIC conditions, negative emotions were associated with enhanced activation in the posterior VTA compared to positive emotions. Our findings replicated and extended previous research which suggests that different subregions of the VTA are sensitive to rewarding and aversive stimuli. Taken together, this study suggests that emotional music embedded in an imagined scenario is a salient social signal that prompts preparation of approach/avoidance behaviours and emotional responses in listeners.

Female Listeners' Autonomic Responses to Dramatic Shifts Between Loud and Soft Music/Sound Passages: A Study of Heavy Metal Songs.

Although music and the emotion it conveys unfold over time, little is known about how listeners respond to shifts in musical emotions. A special technique in heavy metal music utilizes dramatic shifts between loud and soft passages. Loud passages are penetrated by distorted sounds conveying aggression, whereas soft passages are often characterized by a clean, calm singing voice and light accompaniment. The present study used heavy metal songs and soft sea sounds to examine how female listeners' respiration rates and heart rates responded to the arousal changes associated with auditory stimuli. The high-frequency power of heart rate variability (HF-HRV) was used to assess cardiac parasympathetic activity. The results showed that the soft passages of heavy metal songs and soft sea sounds expressed lower arousal and induced significantly higher HF-HRVs than the loud passages of heavy metal songs. Listeners' respiration rate was determined by the arousal level of the present music passage, whereas the heart rate was dependent on both the present and preceding passages. Compared with soft sea sounds, the loud music passage led to greater deceleration of the heart rate at the beginning of the following soft music passage. The sea sounds delayed the heart rate acceleration evoked by the following loud music passage. The data provide evidence that sound-induced parasympathetic activity affects listeners' heart rate in response to the following music passage. These findings have potential implications for future research on the temporal dynamics of musical emotions.