A conceptual review on action-perception coupling in the musiciansâ€™ brain: what is it good for?

Novembre, Giacomo; Keller, Peter E.

doi:10.3389/fnhum.2014.00603

Cited by 108 publications

(109 citation statements)

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“…Conceivably, long-term musical rehearsal and production might also act to improve the prediction of both when and what auditory and visual events are likely to occur as it does in the auditory-motor system (Novembre and Keller 2014;van Vugt and Tillmann 2014). As conceived by Novembre and Keller (2014), experiencedependent coupling of perception and actions (or other percepts) might help "scaffold the human ability to represent complex (structured) actions and entrain to multiple agents (Novembre and Keller 2014;p.1)." Structured actions and multiagent entrainment is essential in joint musical tasks such as ensemble performance.…”

Section: Domain-general Benefits Of Music-related Plasticitymentioning

confidence: 96%

Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion

Bidelman

2016

Exp Brain Res

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Musical training is associated with behavioral and neurophysiological enhancements in auditory processing for both musical and nonmusical sounds (e.g., speech). Yet, whether the benefits of musicianship extend beyond enhancements to auditory-specific skills and impact multisensory (e.g., audiovisual) processing has yet to be fully validated. Here, we investigated multisensory integration of auditory and visual information in musicians and nonmusicians using a double-flash illusion, whereby the presentation of multiple auditory stimuli (beeps) concurrent with a single visual object (flash) induces an illusory perception of multiple flashes. We parametrically varied the onset asynchrony between auditory and visual events (leads and lags of ±300 ms) to quantify participants' "temporal window" of integration, i.e., stimuli in which auditory and visual cues were fused into a single percept. Results show that musically trained individuals were both faster and more accurate at processing concurrent audiovisual cues than their nonmusician peers; nonmusicians had a higher susceptibility for responding to audiovisual illusions and perceived double flashes over an extended range of onset asynchronies compared to trained musicians. Moreover, temporal window estimates indicated that musicians' windows (<100 ms) were ~2-3× shorter than nonmusicians' (~200 ms), suggesting more refined multisensory integration and audiovisual binding. Collectively, findings indicate a more refined binding of auditory and visual cues in musically trained individuals. We conclude that experience-dependent plasticity of intensive musical experience extends beyond simple listening skills, improving multimodal processing and the integration of multiple sensory systems in a domain-general manner.

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Section: Domain-general Benefits Of Music-related Plasticitymentioning

confidence: 96%

Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion

Bidelman

2016

Exp Brain Res

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“…It has been suggested that musicians exhibit distinct auditory (42,43), verbal (44), and broad cognitive (45) abilities and/or systems. In particular, musical training, whether singing or playing an instrument, requires developing perception-action coordination, which may promote unusually strong connections between perception and action systems in the brain (46,47). Storage and retrieval of musical melodies may be subserved by auditory-motor pathways including the premotor area (48).…”

Section: Discussionmentioning

confidence: 99%

Melodic sound enhances visual awareness of congruent musical notes, but only if you can read music

Lee

Blake

Kim

et al. 2015

Proc. Natl. Acad. Sci. U.S.A.

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Predictive influences of auditory information on resolution of visual competition were investigated using music, whose visual symbolic notation is familiar only to those with musical training. Results from two experiments using different experimental paradigms revealed that melodic congruence between what is seen and what is heard impacts perceptual dynamics during binocular rivalry. This bisensory interaction was observed only when the musical score was perceptually dominant, not when it was suppressed from awareness, and it was observed only in people who could read music. Results from two ancillary experiments showed that this effect of congruence cannot be explained by differential patterns of eye movements or by differential response sluggishness associated with congruent score/melody combinations. Taken together, these results demonstrate robust audiovisual interaction based on high-level, symbolic representations and its predictive influence on perceptual dynamics during binocular rivalry.music | binocular rivalry | multisensory interaction | visual awareness | audio-visual congruence V ision can be confusing, particularly when the retinal images inaugurating vision are ambiguous or underspecified with respect to their origins (1, 2). In some situations, confusion can be resolved by reliance on contextual information (3), prior experience (4), expectations (5), and/or implicit knowledge about structural regularities in our visual environment (6). In other situations, however, confusion resists resolution, in which case one can directly experience the dynamical nature of competition as conflicting perceptual interpretations vie for dominance (7). Among the visual phenomena exhibiting this behavior, none is more compelling than binocular rivalry (8).When the two eyes view dissimilar monocular stimuli, stable binocular single vision gives way to interocular competition, characterized by unpredictable fluctuations in visual awareness of the rival stimuli (9, 10). Rivalry offers a way to study the inferential nature of perception when the brain is confronted with conflicting sensory evidence (11,12). Within this context, recent studies imply that rivalry dynamics are governed by influences related to the likelihood of competing perceptual interpretations, such as motor actions (13), affective connotation (14-16), familiarity (17), and concomitant sensory input from other modalities (18-20). Here we examined the limits of susceptibility of rivalry to predictive influences by asking whether binocular rivalry dynamics depend on multisensory congruence between abstract representations familiar to individuals with expertise in that domain of abstraction. The domain we selected was music, for three reasons: (i) musical notation is symbolic; (ii) only people versed in music can decipher that notation; and (iii) melodic structure can be experienced via sight or sound. ResultsExperiment 1: Extended Tracking of Binocular Rivalry. Experiment 1 was implemented as a conventional binocular rivalry task in which participants...

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“…According to these explanations, sounds are successfully perceived and interacted with by internally simulating the likely actions that produced them in the motor cortex (see [91] for a recent review in relation to music). Successful interaction from an agent therefore depends on learnt mappings between external events and internal representations of our own (and others) sound-actions effects.…”

Section: Bringing Sounds Into Usementioning

confidence: 99%

Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

Steenson¹,

Rodger²

2015

TOPSYJ

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Abstract:We live in a richly structured auditory environment. From the sounds of cars charging towards us on the street to the sounds of music filling a dancehall, sounds like these are generally seen as being instances of things we hear but can also be understood as opportunities for action. In some circumstances, the sound of a car approaching towards us can provide critical information for the avoidance of harm. In the context of a concert venue, sociocultural practices like music can equally afford coordinated activities of movement, such as dancing or music making. Despite how evident the behavioral effects of sound are in our everyday experience, they have been sparsely accounted for within the field of psychology. Instead, most theories of auditory perception have been more concerned with understanding how sounds are passively processed and represented and how they convey information of the world, neglecting than how this information can be used for anything. Here, we argue against these previous rationalizations, suggesting instead that information is instantiated through use and, therefore, is an emergent effect of a perceiver's interaction with their environment. Drawing on theory from psychology, philosophy and anthropology, we contend that by thinking of sounds as materials, theorists and researchers alike can get to grips with the vast array of auditory affordances that we purposefully bring into use when interacting with the environment.Keywords: Affordances, auditory perception, dance, ecological psychology, music, sensorimotor coordination. TAKING SOUNDS OUT OF THE HEADUnderstanding the perception of sound and how we interact with auditory information is not an easy task. It is difficult to conceive an objective way of explaining auditory experiences when our perceptions of sound and our intentions surrounding these perceptions, by definition, are subjective mental phenomena. This distinction between the objective and the subjective, the mental and physical, is a problem that has dogged psychology generally over its short lifespan. Different approaches have been developed to explain these dichotomies, which have left far reaching implications on how researchers have approached more specialist areas, such as auditory perception. The dominant approaches to psychology, such as cognitive-and information processing-based approaches, explain auditory perception as the transformation of objective input (energy stimulating receptors) into subjective output (declarative descriptions of, or, responses to received input). This process of input-cognitionoutput, we argue, falls short of adequately accounting for the phenomenology of our experiences with the auditory environment.In this paper, we instead propose an alternative view to auditory perception that can account for the various creative ways we can meaningfully use and interact with sounds. Drawing on ideas from ecological psychology, this approach takes a different form of discourse to conventional cognitive *Address correspondence to this author at ...

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A conceptual review on action-perception coupling in the musiciansâ€™ brain: what is it good for?

Cited by 108 publications

References 103 publications

Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion

Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion

Melodic sound enhances visual awareness of congruent musical notes, but only if you can read music

Bringing Sounds into Use: Thinking of Sounds as Materials and a Sketch of Auditory Affordances

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