Humans show a tendency to represent pitch in a spatial format. A classical finding supporting this spatial representation is the Spatial–Musical Association of Response Codes (SMARC) effect, reflecting faster responses to low tones when pressing a left/bottom-side key and to high tones when pressing a right/top-side key. Despite available evidence suggesting that the horizontal and vertical SMARC effect may be differently modulated by instrumental expertise and musical timbre, no study has so far directly explored this hypothesis in a unified framework. Here, we investigated this possibility by comparing the performance of professional pianists, professional clarinettists and non-musicians in an implicit timbre judgement task, in both horizontal and vertical response settings. Results showed that instrumental expertise significantly modulates the SMARC effect: whereas in the vertical plane a comparable SMARC effect was observed in all groups, in the horizontal plane the SMARC effect was significantly modulated by the specific instrumental expertise, with pianists showing a stronger pitch–space association compared to clarinettists and non-musicians. Moreover, the influence of pitch along the horizontal dimension was stronger in those pianists who started the instrumental training at a younger age. Results also showed an influence of musical timbre in driving the horizontal, but not the vertical, SMARC effect, with only piano notes inducing a pitch–space association. Taken together, these findings suggest that sensorimotor experience due to instrumental training and musical timbre affect the mental representation of pitch on the horizontal space, whereas the one on the vertical space would be mainly independent from musical practice.

Humans can flexibly extract a regular beat from complex rhythmic auditory patterns, as often occurs in music. Contemporary models of beat perception suggest that the premotor cortex (PMC) and the supplementary motor area (SMA) are integral to this process. However, how these motor planning regions actively contribute to beat perception, along with any potential hemispheric specialization, remains open questions. Therefore, following the validation of stimuli in a behavioral experiment (Experiment I, N = 29, 12 males, mean age = 23.8 ± 0.7 years), we employed transcranial magnetic stimulation (TMS) to test the causal contribution of these regions to beat perception. In Experiment II (N = 40, 16 males, mean age = 23.2 ± 2.37 years), we applied online repetitive TMS (rTMS) over a defined grid encompassing the right rostral and caudal dPMC, SMA, and pre‐SMA, and a sham control location. Results showed that stimulation of the caudal portion of right dPMC selectively affected beat perception compared to all other regions. In Experiment III (preregistered, N = 42, 17 males, mean age = 23.5 ± 2.61 years), we tested the lateralization of this contribution by applying rTMS over right and left caudal dPMC. Our results showed that only stimulation over right, but not left, dPMC modulated beat perception. Finally, across all three experiments, individual differences in musical reward predicted beat perception sensitivity. Together, these results support the causal role of the right dPMC in generating internal action predictions and perceptual expectations regarding ongoing sequential events, in line with recent models emphasizing the role of the dorsal auditory stream in beat‐based temporal perception. These findings offer valuable insights into the functional organization of the premotor cortex, contributing to a deeper understanding of the neural mechanisms involved in human rhythm perception.

In recent years, the use of implicit mechanisms based on statistical learning (SL) has emerged as a strong factor in biasing visuospatial attention, so that target selection is improved at frequently attended locations and distractor filtering is facilitated at frequently suppressed locations. Although these mechanisms have been consistently described in younger adults, similar evidence in healthy aging is scarce. Therefore, we studied the learning and persistence of SL of target selection and distractor suppression in younger and older adults in visual search tasks where the frequency of target (Experiment 1) or distractor (Experiment 2) was biased across spatial locations. The results show that SL of target selection was preserved in the older adults so, similar to their younger counterparts, they showed a strong and persistent advantage in target selection at locations more frequently attended. However, unlike young adults, they did not benefit from implicit SL of distractor suppression, so that distractor interference was maintained throughout the experiment independently of the contingencies associated with distractor locations. Taken together, these results provide novel evidence of distinct developmental patterns for SL of task-relevant and task-irrelevant visual information, likely reflecting differences in the implementation of proactive suppression attentional mechanisms between younger and older adults. Public Significance StatementHumans can use regularities in visual scenes to improve performance in finding relevant objects (targets) and inhibiting responses to irrelevant objects (distractors). The present study demonstrates that older adults can learn and exploit target-related but not distractor-related spatial regularities. This finding sheds further light on how the ability to use prior experience to guide attention may change in aging, with potential consequences for daily activities characterized by irrelevant distractors (e.g., driving).

Introduction: Music making is a process by which humans across cultures come together to create patterns of sounds that are aesthetically pleasing. What remains unclear is how this aesthetic outcome affects the sensorimotor interaction between participants.Method: Here we approach this question using an interpersonal sensorimotor synchronization paradigm to test whether the quality of a jointly created chord (consonant vs. dissonant) affects movement coordination. We recruited non-musician participants in dyads to perform a dyadic synchronization-continuation task (dSCT): on each trial, participants first synchronized their movements to a metronome (synchronization phase) and then continued tapping together at the same tempo without the metronome (continuation phase). Each tap yielded a note and participants heard both their own and that of their partner, thus creating a chord that was varied to be either consonant (Perf5 or Maj6) or dissonant (Min2 or Maj2). For each trial, participants also rated the pleasure they felt in creating the sounds together. Additionally, they completed questionnaires about social closeness to the other participant, musical reward sensitivity and musical training.Results: Results showed that participants' taps were closer in time when they jointly created consonant (high pleasure) vs. dissonant (low pleasure) chords, and that pleasure experienced by the dyad in each trial predicted interpersonal synchronization. However, consonance did not affect individual synchronization with the metronome or individual tapping when the metronome was discontinued. The effect of consonance on synchronization was greater in dyads who reported feeling less close prior to the task.Discussion: Together, these results highlight the role of consonance in shaping the temporal coordination of our actions with others. More broadly, this work shows that the aesthetic outcome of what we create together affects joint behaviors.

Behavioral effects of non-invasive brain stimulation techniques (NIBS) can dramatically change as a function of different factors (e.g., stimulation intensity, timing of stimulation). In this framework, lately there has been a growing interest toward the importance of considering the inter-individual differences in baseline performance and how they are related with behavioral NIBS effects. However, assessing how baseline performance level is associated with behavioral effects of brain stimulation techniques raises up crucial methodological issues. How can we test whether the performance at baseline is predictive of the effects of NIBS, when NIBS effects themselves are estimated with reference to baseline performance? In this perspective article, we discuss the limitations connected to widely used strategies for the analysis of the association between baseline value and NIBS effects, and review solutions to properly address this type of question.