The goal of this thesis is to explore different control strategies to execute rhythmic movements. This issue is covered both with design perspectives (implementation in a robot) and analysis perspectives. Indeed we aim at analyzing both our robot behavior, and the behavior of human subjects executing the same task. Interesting parallels between these data sets are raised, illustrating for instance the ubiquitous trade-off of control theory between performance and robustness. / L'objectif de cette thèse est d'explorer différentes stratégies d'exécution des mouvements rythmiques. Cet objectif est couvert à la fois dans des perspectives d'implémentation (sur un robot) et d'analyse. En effet, nous souhaitons analyser à la fois le comportement de notre robot, et le comportement de sujets humains exécutant la même tâche. Des parallèles intéressants, entre les deux ensemble de données, sont proposés et illustrent, par exemple, le compromis entre la robustesse et la performance, souvent utilisé dans la thèorie du contrôle.

Plasticity in spinal networks has been proposed as a means to permit motor skill learning and recovery after central nervous system disorders. This plasticity is significantly driven by input from the periphery (Wolpaw & Carp, 2006). For instance, attenuation of soleus Hoffmann (H) reflex can last beyond the period of different types of conditioning via putative presynaptic inhibition (Brooke et al., 1997). Interestingly, rhythmic arm cycling can also attenuate soleus H-reflex via interlimb connections and presynaptic pathways (Frigon, Collins, & Zehr, 2004). However, it remains to be studied if this attenuation is maintained beyond the period of arm cycling. In this study, we hypothesized that excitability of H-reflex pathway would remain suppressed after cessation of arm cycling. Subjects were seated with their trunk and feet fixed at a neutral position. Using an arm ergometer, they cycled at 1Hz for 30min. H-reflexes were evoked via stimulation of the tibial nerve in the popliteal fossa at 5 minute intervals. These intervals began prior to the cycling and continued during cycling and up to 30 minutes iv after termination of cycling (n=12). Besides soleus muscle, electromyography was recorded from tibialis anterior, vastus lateralis and biceps femoris. Stimulation was set to evoke an M-wave which evoked an H-reflex on the ascending limb of the recruitment curve (size was 75% Hmax) obtained prior to cycling. The M-wave amplitude was maintained throughout all trials by monitoring and adjusting the level of stimulation intensity. All H-reflex and M-wave data were normalized to the averaged Mmax to reduce inter –subject variability. The main result was that the suppression of H-reflex amplitude persisted beyond the period of arm cycling. H-reflex amplitudes were significantly (p<0.05) smaller up to 20 min after arm cycling had stopped. This suggests that arm cycling can induce plastic adaptation in the soleus H-reflex pathway that persists well beyond the period of conditioning. Also, in an additional experiment (n=8), the prolonged effect of arm cycling combined with superficial radial (SR) nerve stimulation was investigated. Interestingly, this cutaneous nerve stimulation cancelled out the prolonged suppression of H-reflex amplitude induced by arm cycling. Since SR nerve stimulation facilitates soleus H-reflex via reductions in the level of Ia presynaptic inhibition (Zehr, Hoogenboom, Frigon, & Collins, 2004), persistence in presynaptic inhibitory pathways is suggested as an underlying neural mechanism. These results have relevance for optimizing rehabilitation techniques in the treatment of spasticity which is known to be related to the H-reflex size (Levin & Hui-Chan, 1993).

La musique et le mouvement sont inséparables. Les mouvements produits spontanément lors de l'écoute musicale seraient le reflet d'un lien étroit entre le système perceptif et moteur. Ce lien est l'objet d'étude de cette thèse. Une première approche concernait l'impact des mouvements induits par la musique sur la cognition musicale. Dans deux études, nous montrons que bouger en rythme sur la musique n'améliore ni la rétention de nouveaux morceaux de musique (Etude 1) ni la rétention d'informations contextuelles relatives à leur encodage (Etude 2). Les résultats des ces deux études suggèrent la superficialité du traitement inhérent à l'expression des affordances musicales nécessaire à la production de mouvements induits par la musique dans la tâche motrice ainsi qu'un traitement moteur automatique de la musique indépendamment de la tâche. L'importance du groove musical a également été mise en évidence. Une deuxième approche concernait l'influence de la perception de rythmes musicaux sur la production de mouvements rythmiques. Notre troisième étude testait l'hypothèse selon laquelle les membres du corps seraient influencés de manière différente en fonction du tempo musical. Les résultats montrent que la tâche de tapping était la plus influencée par la perception de rythmes musicaux. Ceci serait dû à la nature similaire de la pulsation musicale et des mécanismes de timing impliqués dans le tapping ainsi qu'à des phénomènes de résonance motrice. Nous avons également observé la mise en place de certaines stratégies face à la tâche. L'ensemble de ces résultats est discuté à la lumière du lien entre perception et action, de la cognition musicale incarnée et des affordances musicales. / Music and movement are inseparable. The movements that are spontaneously procuded when listening to music are thought to be related to the close relationship between the perceptual and motor system in listeners. This particular link is the main topic of this thesis. A first approach was focused on the impact of music-induced movements on music cognition. In two studies, we show that moving along to music neither enhances the retention of new musical pieces (Study 1) nor the retention of the contextual information related to their encoding (Study 2). These results suggest a shallow processing inherent to the expression of musical affordances required for the production of music-induced movements in the motor task. Moreover, they suggest that music is automatically processed in a motoric fashion independantly of the task. Our results also brought forward the importance of the musical groove. A second approach focused on the influence of the perception of musical rhythms on the production of rythmic movements. Our third study tested the hypothesis that different limbs would be differentially influenced depending on the musical tempo. Results show that the tapping taks was the most influenced by the perception of musical rhythms. We argued that this would come from the similar nature of the musical pulse and the timing mecanisms involved in the tapping task and motor resonance phenomena. We also observed different strategies put in place to cope with the task. All these results are discussed in light of the link between perception and action, embodied musical cognition and musical affordances.