The Power of Auditory-Motor Synchronization in Sports: Enhancing Running Performance by Coupling Cadence with the Right Beats

Bood, Robert Jan; Nijssen, Marijn; Kamp, John van der; Roerdink, Melvyn

doi:10.1371/journal.pone.0070758

Cited by 116 publications

(127 citation statements)

References 33 publications

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“…It is known that listening to music while performing exercise has empowering effects on exercise and sports activities. It raises spirits, regulates mood, increases work output, heightens arousal, induces states of higher functioning and reduces inhibitions (Karageorghis, 2008;Lucaccini & Kreit, 1972;Bood, Nijssen, van der Kamp & Roerdink, 2013). Leman (2016) argues that synchronisation and alignment with music contributes to a state of homeostasis, which is a state of being where cognitive and motivational brain mechanisms reinforce each other.…”

Section: Evidence In Favour Of Empowermentmentioning

confidence: 99%

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Vickers

Hogg²,

Worrall³

2017

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Human interaction with music is based on the capacity to synchronise. In this chapter, we look at the principles behind this capacity and we consider its empowering effect. Synchronisation is central to many new developments in music research that gives body and space a prominent place. The human capacity to synchroniseA regular rhythm in music is a strong driver for establishing a synchronised human rhythm. Typically, a human rhythm tends to go along with the musical rhythm in such a way that a salient feature of the human rhythm matches the timing of a salient feature of the musical rhythm. For example, when we tap our finger on a desk, we can match it with the timing of a metronome tick and, when we walk, we can match the cadence of our footfall with the timing of the beat of the music. Salient moments of the rhythm (tap, footfall, beat) are markers for synchronisation. The performer uses them to establish a synchronised action, while the scientist employs them in order to study this particular type of action.But what are the underlying mechanisms behind music-to-movement synchronisation? And which effects does it generate? The goal of this chapter is to introduce and offer different views on the study of these underlying mechanisms, and to show how being locked to the beat of the music can pave the way for an overall empowerment effect, that is, the feeling that music affords energy and contributes to an increase in autonomy and self-determination. In this chapter, we present some recent theoretical and empirical work that focuses on movement rhythm such as walking, running, cycling and dancing. First, we introduce a theoretical umbrella perspective on synchronisation and embodied interaction with music. Then, we focus on some concrete studies that tell us something about the mechanisms of resonance, entrainment and emulation. Finally, we shed some light on possible empowering effects of music.

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Section: Evidence In Favour Of Empowermentmentioning

confidence: 99%

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Vickers

Hogg²,

Worrall³

2017

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“…With respect to psychophysical outcomes, significant increases in time-to-exhaustion (TTE) were uncovered when running to both motivational and neutral music, compared to running without music (Terry et al, 2012). In addition, significant effects of music on ratings of perceived exertion (RPE) were found when running at sub-maximal intensities (Bood et al, 2013). Typically, there are two common explanations given to account for these findings.…”

Section: Motivation By Musical Biofeedbackmentioning

confidence: 99%

“…The use of music is associated with better running economy although more evidence is needed to support this claim. Another effect on physiology has been revealed on heart rate: treadmill running with music at (near-) maximal RPE resulted in increased heart rates (Bood et al, 2013). This implies that music helps runners to perform at higher intensities.…”

Section: Motivation 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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“…Action and perception have also been shown to bidirectionally influence each other; we know that movements are regularized when carried out to music Thaut, Kenyon, Hurt, McIntosh, & Hoemberg, 2002), that exercising to music decreases perceived exertion (Bood, Nijssen, van der Kamp, & Roerdink, 2013;Karageorghis & Priest, 2012) and that action is preattentively modulated by what we perceive (Furuya & Soechting, 2010). Currently, the use of auditory cues in rehabilitation of disordered movement is an active area of research (cf.…”

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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The Power of Auditory-Motor Synchronization in Sports: Enhancing Running Performance by Coupling Cadence with the Right Beats

Cited by 116 publications

References 33 publications

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Body, Sound and Space in Music and Beyond: Multimodal Explorations

3Mo: A Model for Music-Based Biofeedback

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

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