Rhythm is known to play an important role in infant language acquisition, but few infant language development studies have considered that rhythm is multimodal and shows strong connections between speech and the body. Based on the observation that infants sometimes show rhythmic motor responses when listening to auditory rhythms, the present study asked whether specific rhythm cues (pitch, intensity, or duration) would systematically increase infants\' spontaneous rhythmic body movement, and whether their rhythmic movements would be associated with their speech processing abilities. We used pre-existing experimental and video data of 148 German-learning 7.5- and 9.5-month-old infants tested on their use of rhythm as a cue for speech segmentation. The infants were familiarized with an artificial language featuring syllables alternating in pitch, intensity, duration, or none of these cues. Subsequently, they were tested on their recognition of bisyllables based on perceived rhythm. We annotated infants\' rhythmic movements in the videos, analyzed whether the rhythmic moving durations depended on the perceived rhythmic cue, and correlated them with the speech segmentation performance. The result was that infants\' motor engagement was highest when they heard a duration-based speech rhythm. Moreover, we found an association of the quantity of infants\' rhythmic motor responses and speech segmentation. However, contrary to the predictions, infants who exhibited fewer rhythmic movements showed a more mature performance in speech segmentation. In sum, the present study provides initial exploratory evidence that infants\' spontaneous rhythmic body movements while listening to rhythmic speech are systematic, and may be linked with their language processing. Moreover, the results highlight the need for considering infants\' spontaneous rhythmic body movements as a source of individual differences in infant auditory and speech perception.

Temporal information processing in the range of a few hundred milliseconds to seconds involves the cerebellum and basal ganglia. In this chapter, we present recent studies on nonhuman primates. In the studies presented in the first half of the chapter, monkeys were trained to make eye movements when a certain amount of time had elapsed since the onset of the visual cue (time production task). The animals had to report time lapses ranging from several hundred milliseconds to a few seconds based on the color of the fixation point. In this task, the saccade latency varied with the time length to be measured and showed stochastic variability from one trial to the other. Trial-to-trial variability under the same conditions correlated well with pupil diameter and the preparatory activity in the deep cerebellar nuclei and the motor thalamus. Inactivation of these brain regions delayed saccades when asked to report subsecond intervals. These results suggest that the internal state, which changes with each trial, may cause fluctuations in cerebellar neuronal activity, thereby producing variations in self-timing. When measuring different time intervals, the preparatory activity in the cerebellum always begins approximately 500 ms before movements, regardless of the length of the time interval being measured. However, the preparatory activity in the striatum persists throughout the mandatory delay period, which can be up to 2 s, with different rate of increasing activity. Furthermore, in the striatum, the visual response and low-frequency oscillatory activity immediately before time measurement were altered by the length of the intended time interval. These results indicate that the state of the network, including the striatum, changes with the intended timing, which lead to different time courses of preparatory activity. Thus, the basal ganglia appear to be responsible for measuring time in the range of several hundred milliseconds to seconds, whereas the cerebellum is responsible for regulating self-timing variability in the subsecond range. The second half of this chapter presents studies related to periodic timing. During eye movements synchronized with alternating targets at regular intervals, different neurons in the cerebellar nuclei exhibit activity related to movement timing, predicted stimulus timing, and the temporal error of synchronization. Among these, the activity associated with target appearance is particularly enhanced during synchronized movements and may represent an internal model of the temporal structure of stimulus sequence. We also considered neural mechanism underlying the perception of periodic timing in the absence of movement. During perception of rhythm, we predict the timing of the next stimulus and focus our attention on that moment. In the missing oddball paradigm, the subjects had to detect the omission of a regularly repeated stimulus. When employed in humans, the results show that the fastest temporal limit for predicting each stimulus timing is about 0.25 s (4 Hz). In monkeys performing this task, neurons in the cerebellar nuclei, striatum, and motor thalamus exhibit periodic activity, with different time courses depending on the brain region. Since electrical stimulation or inactivation of recording sites changes the reaction time to stimulus omission, these neuronal activities must be involved in periodic temporal processing. Future research is needed to elucidate the mechanism of rhythm perception, which appears to be processed by both cortico-cerebellar and cortico-basal ganglia pathways.

Head movements that are synchronized with musical rhythms often emerge during musical activities, such as hip hop dance. Although such movements are known to affect the meter and pulse perception of complex auditory rhythms, no studies have investigated their contribution to the performance of sensorimotor synchronization (SMS). In the present study, participants listened to syncopated auditory rhythms and flexed their dominant hand index finger in time with the perceived pulses (4/4 meters). In the first experiment (Exp. 1), the participants moved their heads via voluntary neck flexion to the pulses in parallel with finger SMS (Nodding condition, ND). This performance was compared with finger SMS without nodding (Without Nodding condition, WN). In the second experiment (Exp. 2), we investigated the specificity of the effect of head SMS on finger SMS confirmed in Exp. 1 by asking participants to flex their bilateral index fingers to the pulses (Bimanual condition, BM). We compared the performance of dominant hand finger SMS between the BM and ND conditions. In Exp. 1, we found that dominant hand finger SMS was significantly more stable (smaller standard deviation of asynchrony) in the ND versus WN condition (p < 0.001). In Exp. 2, dominant hand finger SMS was significantly more accurate (smaller absolute value of asynchrony) in the ND versus BM condition (p = 0.037). In addition, the stability of dominant hand finger SMS was significantly correlated with the index of phase locking between the pulses and head SMS across participants in the ND condition (r = -0.85, p < 0.001). In contrast, the stability of dominant hand finger SMS was not significantly correlated with the index of phase locking between pulses and non-dominant hand finger SMS in the BM condition (r = -0.25, p = 0.86 after multiple comparison correction). These findings suggest that SMS modulation depends on the motor effectors simultaneously involved in synchronization: simultaneous head SMS stabilizes the timing of dominant hand finger SMS, while simultaneous non-dominant hand finger SMS deteriorates the timing accuracy of dominant hand finger SMS. The present study emphasizes the unique and crucial role of head movements in rhythmic behavior.

One of the first problems in language learning is to segment words from continuous speech. Both prosodic and distributional information can be useful, and it is an important question how the two types of information are integrated. In this paper, we propose that the distinction between input (the statistical properties of the syllable sequence), and intake (how learners perceptually represent the syllable sequence) is a useful framework to integrate different sources of information. We took a novel approach, observing how a large number of syllable sequences were segmented. These sequences had the same transitional probability information for finding word boundaries but different syllables in them. We found large variability in the performance of the segmentation task, suggesting that factors other than the statistical properties of sequences were at play. This variability was explored using the input/intake asymmetry framework, which predicted that factors that shaped the representation of different syllable sequences could explain the variability of learning. We examined two factors, the saliency of the rhythm in these syllable sequences and how familiar the novel word forms in the sequence were to the existing lexicon. Both factors explained the variance in the learnability of different sequences, suggesting that processing of the sequences shaped learning. The implications of these results to computational models of statistical learning and broader implications to language learning were discussed.

Music performances are rich in systematic temporal irregularities called \"microtiming\", too fine-grained to be notated in a musical score but important for musical expression and communication. Several studies have examined listeners\' preference for rhythms varying in microtiming, but few have addressed precisely how microtiming is perceived, especially in terms of cognitive mechanisms, making the empirical evidence difficult to interpret. Here we provide evidence that microtiming perception can be simulated as a process of probabilistic prediction. Participants performed an XAB discrimination test, in which an archetypal popular drum rhythm was presented with different microtiming. The results indicate that listeners could implicitly discriminate the mean and variance of stimulus microtiming. Furthermore, their responses were effectively simulated by a Bayesian model of entrainment, using a distance function derived from its dynamic posterior estimate over phase. Wide individual differences in participant sensitivity to microtiming were predicted by a model parameter likened to noisy timekeeping processes in the brain. Overall, this suggests that the cognitive mechanisms underlying perception of microtiming reflect a continuous inferential process, potentially driving qualitative judgements of rhythmic feel.

Both the cerebellum and basal ganglia are involved in rhythm processing, but their specific roles remain unclear. During rhythm perception, these areas may be processing purely sensory information, or they may be involved in motor preparation, as periodic stimuli often induce synchronized movements. Previous studies have shown that neurons in the cerebellar dentate nucleus and the caudate nucleus exhibit periodic activity when the animals prepare to respond to the random omission of regularly repeated visual stimuli. To detect stimulus omission, the animals need to learn the stimulus tempo and predict the timing of the next stimulus. The present study demonstrates that neuronal activity in the cerebellum is modulated by the location of the repeated stimulus and that in the striatum (STR) by the direction of planned movement. However, in both brain regions, neuronal activity during movement and the effect of electrical stimulation immediately before stimulus omission were largely dependent on the direction of movement. These results suggest that, during rhythm processing, the cerebellum is involved in multiple stages from sensory prediction to motor control, while the STR consistently plays a role in motor preparation. Thus, internalized rhythms without movement are maintained as periodic neuronal activity, with the cerebellum and STR preferring sensory and motor representations, respectively.

Exploring non-linguistic predictors of phonological awareness, such as musical beat perception, is valuable for children who present with language difficulties and diverse support needs. Studies on the musical abilities of children on the autism spectrum show that they have average or above-average musical production and auditory processing abilities. This study aimed to explore the relationship between musical beat perception and phonological awareness skills of children on the autism spectrum with a wide range of cognitive abilities. A total of 21 autistic children between the ages of 6 to 11 years old (M = 8.9, SD = 1.5) with full scale IQs ranging from 52 to 105 (M = 74, SD = 16) completed a beat perception and a phonological awareness task. Results revealed that phonological awareness and beat perception are positively correlated for children on the autism spectrum. Findings lend support to the potential use of beat and rhythm perception as a screening tool for early literacy skills, specifically for phonological awareness, for children with diverse support needs as an alternative to traditional verbal tasks that tend to underestimate the potential of children on the autism spectrum.

Attention can be selectively tuned to particular features at different spatial locations or objects. The deployment of attention can be guided by properties, such as color, orientation, and so forth, as guiding features. What might be such guiding features for visual stimuli under dynamic rhythmic conditions? We asked specifically what might be the parameters that attract attention when perceiving a visual rhythm. We used a visual search paradigm, in which a dynamic search display consisted of vertically \"bouncing balls\" with regular rhythms. The search target was defined by a unique visual rhythm (i.e., with either a shorter or longer period) among rhythmic distractors sharing an identical period. We modulated amplitudes and phases of the distractor balls systematically. The results showed a crucial factor of the phase, not the amplitude. If the phase is violated, the target suddenly \"pops out\" as an \"oddball,\" showing an efficient parallel search. The findings indicate in general the essential role of the phase in conjunction with amplitude and period for visual rhythm perception. Furthermore, a higher saliency of moving objects with a higher frequency component has also been disclosed.

Acquired prosopagnosia is often associated with other deficits such as dyschromatopsia and topographagnosia, from damage to adjacent perceptual networks. A recent study showed that some subjects with developmental prosopagnosia also have congenital amusia, but problems with music perception have not been described with the acquired variant.
Our goal was to determine if music perception was also impaired in subjects with acquired prosopagnosia, and if so, its anatomic correlate.
We studied eight subjects with acquired prosopagnosia, all of whom had extensive neuropsychological and neuroimaging testing. They performed a battery of tests evaluating pitch and rhythm processing, including the Montréal Battery for the Evaluation of Amusia.
At the group level, subjects with anterior temporal lesions were impaired in pitch perception relative to the control group, but not those with occipitotemporal lesions. Three of eight subjects with acquired prosopagnosia had impaired musical pitch perception while rhythm perception was spared. Two of the three also showed reduced musical memory. These three reported alterations in their emotional experience of music: one reported music anhedonia and aversion, while the remaining two had changes consistent with musicophilia. The lesions of these three subjects affected the right or bilateral temporal poles as well as the right amygdala and insula. None of the three prosopagnosic subjects with lesions limited to the inferior occipitotemporal cortex exhibited impaired pitch perception or musical memory, or reported changes in music appreciation.
Together with the results of our previous studies of voice recognition, these findings indicate an anterior ventral syndrome that can include the amnestic variant of prosopagnosia, phonagnosia, and various alterations in music perception, including acquired amusia, reduced musical memory, and subjective reports of altered emotional experience of music.

Sensorimotor synchronization is a longstanding paradigm in the analysis of isochronous beat tapping. Assessing the finger tapping of complex rhythmic patterns is far less explored and considerably more complex to analyze. Hence, whereas several instruments to assess tempo or beat tapping ability exist, there is at present a shortage of paradigms and tools for the assessment of the ability to tap to complex rhythmic patterns. To redress this limitation, we developed a standardized rhythm tapping test comprising test items of different complexity. The items were taken from the rhythm and tempo subtests of the Profile of Music Perception Skills (PROMS), and administered as tapping items to 40 participants (20 women). Overall, results showed satisfactory psychometric properties for internal consistency and test-retest reliability. Convergent, discriminant, and criterion validity correlations fell in line with expectations. Specifically, performance in rhythm tapping was correlated more strongly with performance in rhythm perception than in tempo perception, whereas performance in tempo tapping was more strongly correlated with performance in tempo than rhythm perception. Both tapping tasks were only marginally correlated with non-temporal perception tasks. In combination, the tapping tasks explained variance in external indicators of musical proficiency above and beyond the perceptual PROMS tasks. This tool allows for the assessment of complex rhythmic tapping skills in about 15 min, thus providing a useful addition to existing music aptitude batteries.