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When listening to music, we often feel a strong desire to move our body in relation to the pulse of the rhythm. In music psychology, this desire to move is described by the term groove . Previous research suggests that the sensation of groove is strongest when a rhythm is moderately complex, i.e., when the rhythm hits the sweet spot between being too simple to be engaging and too complex to be interpretable. This means that the relationship between rhythmic complexity and the sensation of groove can be described by an inverted U-shape (Matthews 2019). Here, we recreate this inverted U-shape with a stimulus set that was reduced from 54 to only nine rhythms. Thereby, we provide an efficient toolkit for future studies to induce and measure different levels of groove sensations. Pleasure and movement induction in relation to rhythmic complexity are emerging topics in music cognition and neuroscience. Investigating the sensation of groove is important for understanding the neurophysiological mechanisms underlying motor timing and reward processes in the general population, and in patients with conditions such as Parkinson’s disease, Huntington’s disease and motor impairment after stroke. The experimental manipulation of groove also provides new approaches for research on social bonding in interpersonal movement interactions that feature music. Our brief stimulus set facilitates future research on these topics by enabling the creation of efficient and concise paradigms.

Keeping time is fundamental for our everyday existence. Various isochronous activities, such as locomotion, require us to use internal timekeeping. This phenomenon comes into play also in other human pursuits such as dance and music. When listening to music, we spontaneously perceive and predict its beat. The process of beat perception comprises both beat inference and beat maintenance, their relative importance depending on the salience of beat in the music. To study functional connectivity associated with these processes in a naturalistic situation, we used functional magnetic resonance imaging to measure brain responses of participants while they were listening to a piece of music containing strong contrasts in beat salience. Subsequently, we utilized dynamic graph analysis and psychophysiological interactions (PPI) analysis in connection with computational modelling of beat salience to investigate how functional connectivity manifests these processes. As the main effect, correlation analyses between the obtained dynamic graph measures and the beat salience measure revealed increased centrality in auditory-motor cortices, cerebellum, and extrastriate visual areas during low beat salience, whereas regions of the default mode- and central executive networks displayed high centrality during high beat salience. PPI analyses revealed partial dissociation of functional networks belonging to this pathway indicating complementary neural mechanisms crucial in beat inference and maintenance, processes pivotal for extracting and predicting temporal regularities in our environment. •Musical beat salience modulates functional centrality during listening.•Complementary neural mechanisms crucial for beat inference and maintenance.•Increased connectivity between auditory and motor areas during beat inference.•Increased connectivity within cerebello-motor network during beat maintenance.

A remarkable feature of the human brain is its ability to integrate information from the environment with internally generated content. The integration of top-down and bottom-up processes during complex multi-modal human activities, however, is yet to be fully understood. Music provides an excellent model for understanding this since music listening leads to the urge to move, and music making entails both playing and listening at the same time (i.e., audio-motor coupling). Here, we conducted activation likelihood estimation (ALE) meta-analyses of 130 neuroimaging studies of music perception, production and imagery, with 2660 foci, 139 experiments, and 2516 participants. We found that music perception and production rely on auditory cortices and sensorimotor cortices, while music imagery recruits distinct parietal regions. This indicates that the brain requires different structures to process similar information which is made available either by an interaction with the environment (i.e., bottom-up) or by internally generated content (i.e., top-down).

Through long-term training, music experts acquire complex and specialized sensorimotor skills, which are paralleled by continuous neuro-anatomical and -functional adaptations. The underlying neuroplasticity mechanisms have been extensively explored in decades of research in music, cognitive, and translational neuroscience. However, the absence of a comprehensive review and quantitative meta-analysis prevents the plethora of variegated findings to ultimately converge into a unified picture of the neuroanatomy of musical expertise. Here, we performed a comprehensive neuroimaging meta-analysis of publications investigating neuro-anatomical and -functional differences between musicians (M) and non-musicians (NM). Eighty-four studies were included in the qualitative synthesis. From these, 58 publications were included in coordinate-based meta-analyses using the anatomic/activation likelihood estimation (ALE) method. This comprehensive approach delivers a coherent cortico-subcortical network encompassing sensorimotor and limbic regions bilaterally. Particularly, M exhibited higher volume/activity in auditory, sensorimotor, interoceptive, and limbic brain areas and lower volume/activity in parietal areas as opposed to NM. Notably, we reveal topographical (dis-)similarities between the identified functional and anatomical networks and characterize their link to various cognitive functions by means of meta-analytic connectivity modelling. Overall, we effectively synthesized decades of research in the field and provide a consistent and controversies-free picture of the neuroanatomy of musical expertise.

The sensation of groove has been defined as the pleasurable desire to move to music, suggesting that both motor timing and reward processes are involved in this experience. Although many studies have investigated rhythmic timing and musical reward separately, none have examined whether the associated cortical and subcortical networks are engaged while participants listen to groove-based music. In the current study, musicians and non-musicians listened to and rated experimentally controlled groove-based stimuli while undergoing functional magnetic resonance imaging. Medium complexity rhythms elicited higher ratings of pleasure and wanting to move and were associated with activity in regions linked to beat perception and reward, as well as prefrontal and parietal regions implicated in generating and updating stimuli-based expectations. Activity in basal ganglia regions of interest, including the nucleus accumbens, caudate and putamen, was associated with ratings of pleasure and wanting to move, supporting their important role in the sensation of groove. We propose a model in which different cortico-striatal circuits interact to support the mechanisms underlying groove, including internal generation of the beat, beat-based expectations, and expectation-based affect. These results show that the sensation of groove is supported by motor and reward networks in the brain and, along with our proposed model, suggest that the basal ganglia are crucial nodes in networks that interact to generate this powerful response to music.

In everyday life, we group and subdivide time to understand the sensory environment surrounding us. Organizing time in units, such as diurnal rhythms, phrases, and beat patterns, is fundamental to behavior, speech, and music. When listening to music, our perceptual system extracts and nests rhythmic regularities to create a hierarchical metrical structure that enables us to predict the timing of the next events. Foot tapping and head bobbing to musical rhythms are observable evidence of this process. In the special case of polyrhythms, at least two metrical structures compete to become the reference for these temporal regularities, rendering several possible beats with which we can synchronize our movements. While there is general agreement that tempo, pitch, and loudness influence beat perception in polyrhythms, we focused on the yet neglected influence of beat subdivisions, i.e., the least common denominator of a polyrhythm ratio. In three online experiments, 300 participants listened to a range of polyrhythms and tapped their index fingers in time with the perceived beat. The polyrhythms consisted of two simultaneously presented isochronous pulse trains with different ratios (2:3, 2:5, 3:4, 3:5, 4:5, 5:6) and different tempi. For ratios 2:3 and 3:4, we additionally manipulated the pitch of the pulse trains. Results showed a highly robust influence of subdivision grouping on beat perception. This was manifested as a propensity towards beats that are subdivided into two or four equally spaced units, as opposed to beats with three or more complex groupings of subdivisions. Additionally, lower pitched pulse trains were more often perceived as the beat. Our findings suggest that subdivisions, not beats, are the basic unit of beat perception, and that the principle underlying the binary grouping of subdivisions reflects a propensity towards simplicity. This preference for simple grouping is widely applicable to human perception and cognition of time.

Musical expertise entails meticulous stylistic specialisation and enculturation. Even so, research on musical training effects has focused on generalised comparisons between musicians and non-musicians, and cross-cultural work addressing specialised expertise has traded cultural specificity and sensitivity for other methodological limitations. This study aimed to experimentally dissociate the effects of specialised stylistic training and general musical expertise on the perception of melodies. Non-musicians and professional musicians specialising in classical music or jazz listened to sampled renditions of saxophone solos improvised by Charlie Parker in the bebop style. Ratings of explicit uncertainty and expectedness for different continuations of each melodic excerpt were collected. An information-theoretic model of expectation enabled selection of stimuli affording highly certain continuations in the bebop style, but highly uncertain continuations in the context of general tonal expectations, and vice versa. The results showed that expert musicians have acquired probabilistic characteristics of music influencing their experience of expectedness and predictive uncertainty. While classical musicians had internalised key aspects of the bebop style implicitly, only jazz musicians' explicit uncertainty ratings reflected the computational estimates, and jazz-specific expertise modulated the relationship between explicit and inferred uncertainty data. In spite of this, there was no evidence that non-musicians and classical musicians used a stylistically irrelevant cognitive model of general tonal music providing support for the theory of cognitive firewalls between stylistic models in predictive processing of music.

Throughout history, lullabies have been used to help children sleep, and today, with the increasing accessibility of recorded music, many people report listening to music as a tool to improve sleep. Nevertheless, we know very little about this common human habit. In this study, we elucidated the characteristics of music associated with sleep by extracting audio features from a large number of tracks (N = 225,626) retrieved from sleep playlists at the global streaming platform Spotify. Compared to music in general, we found that sleep music was softer and slower; it was more often instrumental (i.e. without lyrics) and played on acoustic instruments. Yet, a large amount of variation was present in sleep music, which clustered into six distinct subgroups. Strikingly, three of the subgroups included popular tracks that were faster, louder, and more energetic than average sleep music. The findings reveal previously unknown aspects of the audio features of sleep music and highlight the individual variation in the choice of music used for sleep. By using digital traces, we were able to determine the universal and subgroup characteristics of sleep music in a unique, global dataset, advancing our understanding of how humans use music to regulate their behaviour in everyday life.

Human social behaviour is complex, and the biological and neural mechanisms underpinning it remain debated. A particularly interesting social phenomenon is our ability and tendency to fall into synchronization with other humans. Our ability to coordinate actions and goals relies on the ability to distinguish between and integrate self and other, which when impaired can lead to devastating consequences. Interpersonal synchronization has been a widely used framework for studying action coordination and self-other integration, showing that even in simple interactions, such as joint finger tapping, complex interpersonal dynamics emerge. Here we propose a computational model of self-other integration via within- and between-person action-perception links, implemented as a simple Kuramoto model with four oscillators. The model abstracts each member of a dyad as a unit consisting of two connected oscillators, representing intrinsic processes of perception and action. By fitting this model to data from two separate experiments we show that interpersonal synchronization strategies rely on the relationship between within- and between-unit coupling. Specifically, mutual adaptation exhibits a higher between-unit coupling than within-unit coupling; leading-following requires that the follower unit has a low within-unit coupling; and leading-leading occurs when two units jointly exhibit a low between-unit coupling. These findings are consistent with the theory of interpersonal synchronization emerging through self-other integration mediated by processes of action-perception coupling. Hence, our results show that chaotic human behaviour occurring on a millisecond scale may be modelled using coupled oscillators.

Moving to music is an essential human pleasure particularly related to musical groove. Structurally, music associated with groove is often characterised by rhythmic complexity in the form of syncopation, frequently observed in musical styles such as funk, hip-hop and electronic dance music. Structural complexity has been related to positive affect in music more broadly, but the function of syncopation in eliciting pleasure and body-movement in groove is unknown. Here we report results from a web-based survey which investigated the relationship between syncopation and ratings of wanting to move and experienced pleasure. Participants heard funk drum-breaks with varying degrees of syncopation and audio entropy, and rated the extent to which the drum-breaks made them want to move and how much pleasure they experienced. While entropy was found to be a poor predictor of wanting to move and pleasure, the results showed that medium degrees of syncopation elicited the most desire to move and the most pleasure, particularly for participants who enjoy dancing to music. Hence, there is an inverted U-shaped relationship between syncopation, body-movement and pleasure, and syncopation seems to be an important structural factor in embodied and affective responses to groove.