Synchrony During Online Encounters Affects Social Affiliation and Theory of Mind but Not Empathy.

Moving together in time affects human social affiliation and cognition. However, it is unclear whether these effects hold for on-line video meetings and whether they extend to empathy (understanding or sharing others' emotions) and theory of mind (ToM; attribution of mental states to others). 126 young adult participants met through online video in unacquainted pairs. Participants either performed 3 min of synchronous arm movements paced by sounds (n = 40), asynchronous movements (n = 46) or a small talk condition (n = 40). In a subsequent empathy task, participants engaged in a conversation. A video recording of this conversation was played back, and each participant rated, at predetermined time points, how they felt and how they thought their partner felt. From this we calculated empathic accuracy (accuracy of the estimation of the other's emotions) and emotional congruence (emotion sharing). ToM was measured by showing videos of geometrical shapes interacting and asking the participants to describe what happened, measuring the amount of intentionality. We found that participants in the synchrony condition rated feeling greater closeness and similarity to their partners relative to the asynchronous condition. Further, participants in the synchrony group tended to ascribe more intentionality to the abstract shapes than participants in asynchrony condition, suggesting greater ToM. Synchrony and asynchrony groups did not reliably differ in empathic accuracy nor emotional congruence. These results suggest that moving in synchrony has effects on social affiliation measures even in online encounters. These effects extend to ToM tendencies but not empathic accuracy or emotion sharing. These results highlight the potential of synchronous movement in online encounters to affect a subset of social cognition and affiliation measures.

Closeness to friends explains age differences in positive emotional experience during the lockdown period of COVID-19 pandemic.

BACKGROUND: Studies on age differences in emotional states during the COVID-19 pandemic showed that older adults experienced greater emotional wellbeing compared to younger adults. We hypothesized these age differences to be related to the perception of closeness to family/friends or the engagement in daily activities during the pandemic. AIM: To investigate age differences in positive and negative emotional experiences and whether the perception of closeness to family/friends and the engagement in daily activities during pandemic explained such age-related differences. METHODS: Through a cross-sectional study, 1,457 adults aged 18-87 years old completed an online survey assessing positive and negative emotional experiences, the perception of more closeness to family/friends, and daily activities that participants started/re-started during the pandemic. RESULTS: Increasing age was associated with more positive and less negative emotional experiences. Age differences in positive emotional experience were explained by the perception of more closeness to friends and not by the engagement in daily activities. For negative emotional experience age, differences remained significant even after accounting for the perception of closeness to family/friends and engagements in daily activities. DISCUSSION: Older adults' greater overall level of positive emotional experience was explained by their greater perception of more closeness to friends. We speculate that social closeness provides a coping mechanism to increase emotional wellbeing employed especially in older adults. CONCLUSION: Our findings reinforce the link between perceived social closeness and emotional wellbeing especially in older adults. To cope with stressful situation, it is important to encourage older adults to increase the closeness to their social network.

Risk Perception in a Real-World Situation (COVID-19): How It Changes From 18 to 87 Years Old.

Studies on age-related differences in risk perception in a real-world situation, such as the recent COVID-19 outbreak, showed that the risk perception of getting COVID-19 tends to decrease as age increases. This finding raised the question on what factors could explain risk perception in older adults. The present study examined age-related differences in risk perception in the early stages of COVID-19 lockdown, analyzing variables that can explain the differences in perception of risk at different ages. A total of 1,765 adults aged between 18 and 87 years old completed an online survey assessing perceived risk severity and risk vulnerability of getting COVID-19, sociodemographic status, emotional state, experience relating to COVID-19, and physical health status. Results showed that the older the participants, the lower the perceived vulnerability to getting COVID-19, but the higher the perceived severity. Different predictors explain the perception of risk severity and vulnerability at different ages. Overall, self-reported anxiety over the pandemic is a crucial predictor in explaining risk perceptions in all age groups. Theoretical and practical implications of the empirical findings are discussed.

The TeensyTap Framework for Sensorimotor Synchronization Experiments.

Synchronizing movements with an external periodic stimulus, such as tapping your foot along with a metronome, is a remarkable human skill called sensorimotor synchronization. A growing body of literature investigates this process, but experiments require collecting responses with high temporal reliability, which often requires specialized hardware. The current article presents and validates TeensyTap, an inexpensive, highly functional framework with excellent timing performance. The framework uses widely available, low-cost hardware and consists of custom-written open-source software and communication protocols. TeensyTap allows running complete experiments through a graphical user interface and can simultaneously present a pacing signal (metronome), measure movements using a force-sensitive resistor, and deliver auditory feedback, with optional experimenter-specified artificial feedback delays. Movement data is communicated to a computer and saved for offline analysis in a format that allows it to be easily imported into spreadsheet programs. The present work also reports a validation experiment showing that timing performance of TeensyTap is highly accurate, ranking it among the gold standard tools available in the field. Metronome pacing signals are presented with millisecond accuracy, feedback sounds are delivered on average 2 ms following the subjects' taps, and the timing log files produced by the device are unbiased and accurate to within a few milliseconds. The framework allows for a range of experimental questions to be addressed and, since it is open source and transparent, researchers with some technical expertise can easily adapt and extend it to accommodate a host of possible future experiments that have yet to be imagined.

The Impact of Failures and Successes on Affect and Self-Esteem in Young and Older Adults.

Older adults are assumed to change their affect states in reaction to positive and negative stimuli across the life span. However, little is known about the impact of success and failure events on age-related changes in affect states and, particularly, in self-esteem levels. To fill this gap in the literature, in the present study changes in affect and self-esteem in 100 young (19-30 years) and 102 older adults (65-81 years) were assessed after participants experienced success and failure in a demanding cognitive task. Overall, the success-failure manipulation induced changes on affect states and on state self-esteem, not on trait self-esteem. Regarding age differences, older and young adults were affected to the same extent by experiences of successes and failures. Theoretical considerations of the empirical findings are provided in the general discussion.

On the One Hand or on the Other: Trade-Off in Timing Precision in Bimanual Musical Scale Playing.

Music performance requires simultaneously producing challenging movement sequences with the left and right hand. A key question in bimanual motor control research is whether bimanual movements are produced by combining unimanual controllers or through a dedicated bimanual controller. Here, 34 expert pianists performed musical scale playing movements with the left or right hand alone and with both hands simultaneously. We found that for the left hand, scale playing was more variable when playing with both hands simultaneously rather than with one hand at a time, but for the right hand, performance was identical. This indicates that when task constraints are high, musicians prioritize timing accuracy in the right hand at the cost of detriment of performance in the left hand. We also found that individual differences in timing substantially overlap between the unimanual and bimanual condition, suggesting control policies are similar but not identical when playing with two hands or one. In the bimanual condition, the left-hand keystrokes tended to occur before right-hand ones, and more so when the hands were further apart. Performance of the two hands was furthermore coupled so that they tended to be early and late together, especially in the beginning and end of each scale. This suggests that experts are able to achieve tightly coupled timing of scale playing movements between the hands. Taken together, these findings show evidence for partially overlapping and partially separate controllers for bimanual and unimanual movements in piano playing.

Structural neuroplasticity in expert pianists depends on the age of musical training onset.

In the last decade, several studies have investigated the neuroplastic changes induced by long-term musical training. Here we investigated structural brain differences in expert pianists compared to non-musician controls, as well as the effect of the age of onset (AoO) of piano playing. Differences with non-musicians and the effect of sensitive periods in musicians have been studied previously, but importantly, this is the first time in which the age of onset of music-training was assessed in a group of musicians playing the same instrument, while controlling for the amount of practice. We recruited a homogeneous group of expert pianists who differed in their AoO but not in their lifetime or present amount of training, and compared them to an age-matched group of non-musicians. A subset of the pianists also completed a scale-playing task in order to control for performance skill level differences. Voxel-based morphometry analysis was used to examine gray-matter differences at the whole-brain level. Pianists showed greater gray matter (GM) volume in bilateral putamen (extending also to hippocampus and amygdala), right thalamus, bilateral lingual gyri and left superior temporal gyrus, but a GM volume shrinkage in the right supramarginal, right superior temporal and right postcentral gyri, when compared to non-musician controls. These results reveal a complex pattern of plastic effects due to sustained musical training: a network involved in reinforcement learning showed increased GM volume, while areas related to sensorimotor control, auditory processing and score-reading presented a reduction in the volume of GM. Behaviorally, early-onset pianists showed higher temporal precision in their piano performance than late-onset pianists, especially in the left hand. Furthermore, early onset of piano playing was associated with smaller GM volume in the right putamen and better piano performance (mainly in the left hand). Our results, therefore, reveal for the first time in a single large dataset of healthy pianists the link between onset of musical practice, behavioral performance, and putaminal gray matter structure. In summary, skill-related plastic adaptations may include decreases and increases in GM volume, dependent on an optimization of the system caused by an early start of musical training. We believe our findings enrich the plasticity discourse and shed light on the neural basis of expert skill acquisition.

Individuality That is Unheard of: Systematic Temporal Deviations in Scale Playing Leave an Inaudible Pianistic Fingerprint.

Whatever we do, we do it in our own way, and we recognize master artists by small samples of their work. This study investigates individuality of temporal deviations in musical scales in pianists in the absence of deliberate expressive intention. Note-by-note timing deviations away from regularity form a remarkably consistent "pianistic fingerprint." First, eight professional pianists played C-major scales in two sessions, separated by 15 min. Euclidian distances between deviation traces originating from different pianists were reliably larger than traces originating from the same pianist. As a result, a simple classifier that matched deviation traces by minimizing their distance was able to recognize each pianist with 100% accuracy. Furthermore, within each pianist, fingerprints produced by the same movements were more similar than fingerprints resulting in the same scale sound. This allowed us to conclude that the fingerprints are mostly neuromuscular rather than intentional or expressive in nature. However, human listeners were not able to distinguish the temporal fingerprints by ear. Next, 18 pianists played C-major scales on a normal or muted piano. Recognition rates ranged from 83 to 100%, further supporting the view that auditory feedback is not implicated in the creation of the temporal signature. Finally, 20 pianists were recognized 20 months later at above chance level, showing signature effects to be long lasting. Our results indicate that even non-expressive playing of scales reveals consistent, partially effector-unspecific, but inaudible inter-individual differences. We suggest that machine learning studies into individuality in performance will need to take into account unintentional but consistent variability below the perceptual threshold.

Fingers Phrase Music Differently: Trial-to-Trial Variability in Piano Scale Playing and Auditory Perception Reveal Motor Chunking.

We investigated how musical phrasing and motor sequencing interact to yield timing patterns in the conservatory students' playing piano scales. We propose a novel analysis method that compared the measured note onsets to an objectively regular scale fitted to the data. Subsequently, we segment the timing variability into (i) systematic deviations from objective evenness that are perhaps residuals of expressive timing or of perceptual biases and (ii) non-systematic deviations that can be interpreted as motor execution errors, perhaps due to noise in the nervous system. The former, systematic deviations reveal that the two-octave scales are played as a single musical phrase. The latter, trial-to-trial variabilities reveal that pianists' timing was less consistent at the boundaries between the octaves, providing evidence that the octave is represented as a single motor sequence. These effects cannot be explained by low-level properties of the motor task such as the thumb passage and also did not show up in simulated scales with temporal jitter. Intriguingly, this instability in motor production around the octave boundary is mirrored by an impairment in the detection of timing deviations at those positions, suggesting that chunks overlap between perception and action. We conclude that the octave boundary instability in the scale playing motor program provides behavioral evidence that our brain chunks musical sequences into octave units that do not coincide with musical phrases. Our results indicate that trial-to-trial variability is a novel and meaningful indicator of this chunking. The procedure can readily be extended to a variety of tasks to help understand how movements are divided into units and what processing occurs at their boundaries.