Auditory rhythmic cueing in movement rehabilitation: findings and possible mechanisms

Schaefer, Rebecca

doi:10.1098/rstb.2013.0402

Cited by 102 publications

(104 citation statements)

References 93 publications

(110 reference statements)

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“…Synchronization with a beat has been increasingly used in the rehabilitation of Parkinson’s disease (Nombela et al, 2013; Repp and Su, 2013; Schaefer, 2014), and the potential of imagery-guided synchronization is gaining increased attention (Satoh and Kuzuhara, 2008; Schaefer et al, 2014) adding to ongoing questions on modality (Hove and Keller, 2015). Concerning the possibility of using imagery, our findings afford different predictions depending on whether we focus on phase-matching (variability in asynchronies) or period-matching (IRI variability).…”

Section: Discussionmentioning

confidence: 99%

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

Silva

Castro

2016

Front. Psychol.

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Recent studies have shown that a moving visual stimulus (e.g., a bouncing ball) facilitates synchronization compared to a static stimulus (e.g., a flashing light), and that it can even be as effective as an auditory beep. We asked a group of participants to perform different tasks with four stimulus types: beeps, siren-like sounds, visual flashes (static) and bouncing balls. First, participants performed synchronization with isochronous sequences (stimulus-guided synchronization), followed by a continuation phase in which the stimulus was internally generated (imagery-guided synchronization). Then they performed a perception task, in which they judged whether the final part of a temporal sequence was compatible with the previous beat structure (stimulus-guided perception). Similar to synchronization, an imagery-guided variant was added, in which sequences contained a gap in between (imagery-guided perception). Balls outperformed flashes and matched beeps (powerful ball effect) in stimulus-guided synchronization but not in perception (stimulus- or imagery-guided). In imagery-guided synchronization, performance accuracy decreased for beeps and balls, but not for flashes and sirens. Our findings suggest that the advantages of moving visual stimuli over static ones are grounded in action rather than perception, and they support the hypothesis that the sensorimotor coupling mechanisms for auditory (beeps) and moving visual stimuli (bouncing balls) overlap.

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Section: Discussionmentioning

confidence: 99%

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

Silva

Castro

2016

Front. Psychol.

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“…In the context of movement rehabilitation, rhythmic auditory-motor entrainment is often referred to as “auditory rhythmic cuing.” There is extensive evidence showing that rhythmic cuing may support timing of upper-limb movement control and gait in persons with motor disorders (Schaefer, 2014; Thaut et al, 2014; Yoo and Kim, 2016). More than temporal control, research points out that rhythmic cuing may lead to adaptation and optimization of spatio-dynamic parameters of motor control, such as smoothing of velocity and acceleration profiles of cyclical movement.…”

Section: Modification By Musical Biofeedbackmentioning

confidence: 99%

3Mo: A Model for Music-Based Biofeedback

2016

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In the domain of sports and motor rehabilitation, it is of major importance to regulate and control physiological processes and physical motion in most optimal ways. For that purpose, real-time auditory feedback of physiological and physical information based on sound signals, often termed “sonification,” has been proven particularly useful. However, the use of music in biofeedback systems has been much less explored. In the current article, we assert that the use of music, and musical principles, can have a major added value, on top of mere sound signals, to the benefit of psychological and physical optimization of sports and motor rehabilitation tasks. In this article, we present the 3Mo model to describe three main functions of music that contribute to these benefits. These functions relate the power of music to Motivate, and to Monitor and Modify physiological and physical processes. The model brings together concepts and theories related to human sensorimotor interaction with music, and specifies the underlying psychological and physiological principles. This 3Mo model is intended to provide a conceptual framework that guides future research on musical biofeedback systems in the domain of sports and motor rehabilitation.

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“…Currently, the use of auditory cues in rehabilitation of disordered movement is an active area of research (cf. Schaefer, 2014a) that holds considerable promise for therapies based on the coupling between perception and action. Going in the other direction, movement is reported to enhance temporal acuity in auditory perception (Manning & Schutz, 2013;Su & Pöppel, 2012), and to modulate the perception of rhythmically ambiguous temporal patterns (Phillips-Silver & Trainor, 2005, 2008.…”

Section: Coupling Of Perception Cognition and Actionmentioning

confidence: 99%

Mental Representations in Musical Processing and their Role in Action-Perception Loops

Schaefer

2015

EMR

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I address the diverging usage of the term "imagery" by delineating different types of imagery, each of which is supported by multimodal mental representations that are informed and modulated by the body and its in-and outputs, and that in turn modulate and inform perception and action through predictive processing. These multimodal representations, viewed here as mental models, underlie our individual perceptual experience of music, which is constructed in the listener as it is perceived and interpreted. While tracking incoming auditory information, mental representations of music unfold on multiple levels as we listen, from regularities detected across notes to the structure of entire pieces of music, generating predictions for different musical aspects. These predictions lead to specific percepts and behavioral outputs, illustrating a tight coupling of cognition, perception and action. This coupling and the prominence of predictive mechanisms in music processing are described in the context of the broader role of predictive processing in cognitive function, which is well suited to account for the role of mental models in musical perception and action. As a proxy for mental representations, investigating the cerebral correlates of constructive imagination may offer an experimentally tractable approach to clarifying how mental models of music are implemented in the brain. KEYWORDS: music imagination, predictive processing, embodied music cognitionIF one thing has become abundantly clear from decades of research in music cognition, it is that musical experiences are highly personal. Although it is clear that a range of common (or predictable) responses to music can be identified, there is no assurance that two people will feel the same way about a piece of music, or even necessarily have the same experience at repeated listening. The internalized, automatic processes that drive these experiences are the focus of the current paper. When perceiving music, we can generally say that a waveform of sound -with no inherent meaning -is transformed into music once it is perceived and interpreted through processes driven by the unique listening biography of the listener. This may in turn trigger various memory associations, or lead to differences in directing attention to specific musical aspects that are most salient to that person. The way we make sense of music thus depends on how we relate what we hear to previous experience -models built up from exposure to a lifetime of music, created by the unique auditory environment in which an individual has existed. This previously encountered environment provides the statistical basis for what we expect from auditory signals around us, by tracking incoming information and placing it into our own unique context of what we have previously experienced, based on the incidence of occurrences of those experiences. In this way, the unique implicit representations we have of what is common (and thus expected) drive our unique response to music. It also follows that having a ...

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Auditory rhythmic cueing in movement rehabilitation: findings and possible mechanisms

Cited by 102 publications

References 93 publications

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

Moving Stimuli Facilitate Synchronization But Not Temporal Perception

3Mo: A Model for Music-Based Biofeedback

Mental Representations in Musical Processing and their Role in Action-Perception Loops

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