Fujioka Takako, Ross Bernhard, Trainor Laurel J
Centre for Computer Research in Music and Acoustics and Neuroscience Institute, Stanford University, Stanford, California 94305,
Rotman Research Institute, Toronto, Ontario M6A 2E1, Canada, Department of Medical Biophysics, University of Toronto, Toronto, Ontario M5G 1L7, Canada, and.
J Neurosci. 2015 Nov 11;35(45):15187-98. doi: 10.1523/JNEUROSCI.2397-15.2015.
Dancing to music involves synchronized movements, which can be at the basic beat level or higher hierarchical metrical levels, as in a march (groups of two basic beats, one-two-one-two …) or waltz (groups of three basic beats, one-two-three-one-two-three …). Our previous human magnetoencephalography studies revealed that the subjective sense of meter influences auditory evoked responses phase locked to the stimulus. Moreover, the timing of metronome clicks was represented in periodic modulation of induced (non-phase locked) β-band (13-30 Hz) oscillation in bilateral auditory and sensorimotor cortices. Here, we further examine whether acoustically accented and subjectively imagined metric processing in march and waltz contexts during listening to isochronous beats were reflected in neuromagnetic β-band activity recorded from young adult musicians. First, we replicated previous findings of beat-related β-power decrease at 200 ms after the beat followed by a predictive increase toward the onset of the next beat. Second, we showed that the β decrease was significantly influenced by the metrical structure, as reflected by differences across beat type for both perception and imagery conditions. Specifically, the β-power decrease associated with imagined downbeats (the count "one") was larger than that for both the upbeat (preceding the count "one") in the march, and for the middle beat in the waltz. Moreover, beamformer source analysis for the whole brain volume revealed that the metric contrasts involved auditory and sensorimotor cortices; frontal, parietal, and inferior temporal lobes; and cerebellum. We suggest that the observed β-band activities reflect a translation of timing information to auditory-motor coordination.
With magnetoencephalography, we examined β-band oscillatory activities around 20 Hz while participants listened to metronome beats and imagined musical meters such as a march and waltz. We demonstrated that β-band event-related desynchronization in the auditory cortex differentiates between beat positions, specifically between downbeats and the following beat. This is the first demonstration of β-band oscillations related to hierarchical and internalized timing information. Moreover, the meter representation in the β oscillations was widespread across the brain, including sensorimotor and premotor cortices, parietal lobe, and cerebellum. The results extend current understanding of the role of β oscillations in neural processing of predictive timing.
随着音乐起舞涉及同步运动,这种同步运动可以处于基本节拍水平或更高层次的韵律水平,比如进行曲(以两个基本节拍为一组,一二一二……)或华尔兹(以三个基本节拍为一组,一二三一二三……)。我们之前的人类脑磁图研究表明,韵律的主观感受会影响与刺激锁相的听觉诱发反应。此外,节拍器滴答声的时间在双侧听觉和感觉运动皮层中诱发的(非锁相)β波段(13 - 30赫兹)振荡的周期性调制中得到体现。在此,我们进一步研究在聆听等时节拍期间,进行曲和华尔兹情境中听觉强调和主观想象的韵律处理是否反映在年轻成年音乐家记录的神经磁β波段活动中。首先,我们重复了之前的研究发现,即在节拍后200毫秒出现与节拍相关的β功率下降,随后在下一个节拍开始前出现预测性增加。其次,我们表明β功率下降受到韵律结构的显著影响,这在感知和想象条件下不同节拍类型的差异中得到体现。具体而言,与想象的重拍(数“一”)相关的β功率下降幅度大于进行曲中前导拍(在数“一”之前)以及华尔兹中中间节拍的β功率下降幅度。此外,对全脑体积的波束形成器源分析表明,韵律对比涉及听觉和感觉运动皮层;额叶、顶叶和颞下回;以及小脑。我们认为观察到的β波段活动反映了时间信息向听觉 - 运动协调的转化。
通过脑磁图,我们在参与者聆听节拍器节拍并想象诸如进行曲和华尔兹等音乐韵律时,研究了20赫兹左右的β波段振荡活动。我们证明了听觉皮层中与β波段事件相关去同步化在节拍位置之间存在差异,特别是在重拍和后续节拍之间。这是首次证明与层次化和内在化时间信息相关的β波段振荡。此外,β振荡中的韵律表征在全脑广泛分布,包括感觉运动和运动前皮层、顶叶以及小脑。这些结果扩展了当前对β振荡在预测性时间神经处理中作用的理解。