Upper rate limits for one-to-one auditory–motor coordination involving whole-body oscillation: a study of street dancers and non-dancers

Locomotion in vertebrates and invertebrates has a long history in research as the most prominent example of interlimb coordination. However, the evolution towards upright stance and gait has paved the way for a bewildering variety of functions in which the upper limbs interact with each other in a context-specific manner. The neural basis of these bimanual interactions has been investigated in recent years on different scales, ranging from the single-cell level to the analysis of neuronal assemblies. Although the prevailing viewpoint has been to assign bimanual coordination to a single brain locus, more recent evidence points to a distributed network that governs the processes of neural synchronization and desynchronization that underlie the rich variety of coordinated functions. The distributed nature of this network accounts for disruptions of interlimb coordination across various movement disorders.

The tendency to move in rhythmic synchrony with a musical beat (e.g., via head bobbing, foot tapping, or dance) is a human universal [1] yet is not commonly observed in other species [2]. Does this ability reflect a brain specialization for music cognition, or does it build on neural circuitry that ordinarily serves other functions? According to the "vocal learning and rhythmic synchronization" hypothesis [3], entrainment to a musical beat relies on the neural circuitry for complex vocal learning, an ability that requires a tight link between auditory and motor circuits in the brain [4, 5]. This hypothesis predicts that only vocal learning species (such as humans and some birds, cetaceans, and pinnipeds, but not nonhuman primates) are capable of synchronizing movements to a musical beat. Here we report experimental evidence for synchronization to a beat in a sulphur-crested cockatoo (Cacatua galerita eleonora). By manipulating the tempo of a musical excerpt across a wide range, we show that the animal spontaneously adjusts the tempo of its rhythmic movements to stay synchronized with the beat. These findings indicate that synchronization to a musical beat is not uniquely human and suggest that animal models can provide insights into the neurobiology and evolution of human music [6].

Humans have a unique ability to coordinate their motor movements to an external auditory stimulus, as in music-induced foot tapping or dancing. This behavior currently engages the attention of scholars across a number of disciplines. However, very little is known about its earliest manifestations. The aim of the current research was to examine whether preverbal infants engage in rhythmic behavior to music. To this end, we carried out two experiments in which we tested 120 infants (aged 5-24 months). Infants were exposed to various excerpts of musical and rhythmic stimuli, including isochronous drumbeats. Control stimuli consisted of adult- and infant-directed speech. Infants' rhythmic movements were assessed by multiple methods involving manual coding from video excerpts and innovative 3D motion-capture technology. The results show that (i) infants engage in significantly more rhythmic movement to music and other rhythmically regular sounds than to speech; (ii) infants exhibit tempo flexibility to some extent (e.g., faster auditory tempo is associated with faster movement tempo); and (iii) the degree of rhythmic coordination with music is positively related to displays of positive affect. The findings are suggestive of a predisposition for rhythmic movement in response to music and other metrically regular sounds.