Abstract
In this paper we present a reanalysis of electrophysiological data originally collected to test a sensory-motor theory of beat induction (Todd et al., 2002; Todd and Seiss, 2004; Todd and Lee, 2015). The reanalysis is conducted in the light of more recent findings and in particular the demonstration that auditory evoked potentials contain a vestibular dependency. At the core of the analysis is a model which predicts brain dipole source current activity over time in temporal and frontal lobe areas during passive listening to a rhythm, or active synchronization, where it dissociates the frontal activity into distinct sources which can be identified as respectively pre-motor and motor in origin. The model successfully captures the main features of the rhythm in showing that the metrical structure is manifest in an increase in source current activity during strong compared to weak beats. In addition the outcomes of modeling suggest that: (1) activity in both temporal and frontal areas contribute to the metrical percept and that this activity is distributed over time; (2) transient, time-locked activity associated with anticipated beats is increased when a temporal expectation is confirmed following a previous violation, such as a syncopation; (3) two distinct processes are involved in auditory cortex, corresponding to tangential and radial (possibly vestibular dependent) current sources. We discuss the implications of these outcomes for the insights they give into the origin of metrical structure and the power of syncopation to induce movement and create a sense of groove.
Highlights
The background to this paper is a theoretical approach which has been referred to as a sensorymotor theory of rhythm perception
Rather than repeat the fitting procedure independently for each case, we first apply it in detail to the random case, where we show a small number of alternative models, and for one selected model, chosen for plausibility and goodness of fit, we apply it unchanged to all other conditions
Passive Listening to an Irregular Rhythm (Condition 1) Table 1 provides the Talairach–Tourneaux coordinates (TTCs) for a number of models which meet the criterion of the regional sources locating to within 5 mm of BA 41/42 when applied to the random condition
Summary
Background and Aims The background to this paper is a theoretical approach which has been referred to as a sensorymotor theory of rhythm perception. The essential idea was that the perception and experience of musical rhythm is mediated by two distinct representations – a sensory representation of the auditory input in the form of a kind of wavelet transform, hypothetically represented by receptive fields (RFs) in auditory cortex acting like linear filters, and Electrophysiological correlates of beat induction a sensory-motor representation of the body in frontal and parietal cortex. Reciprocal interactions of these two representations could allow a complex interaction, either by external feedback, i.e., by externally hearing and feeling the consequences of action, or by internal cortico-cortical connectivity (Figure 1). Subsequent imaging studies essentially confirmed the proposal that rhythmic sequences activate motor areas of the brain (Grahn and Brett, 2007; Schubotz, 2007; Zatorre et al, 2007; Chen et al, 2008), and that there are two distinct networks (e.g., Lewis and Miall, 2003; Teki et al, 2011; Grahn and Rowe, 2013)
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