On the limits of anisochrony in pulse attribution

Pulse is the subjective experience of isochrony, which is typically elicited by series of sensory events with close to isochronous spacing, as is common in music and poetry. We measured the amount of anisochrony in a 10-event sequence with 570- to 630-ms nominal inter-onset intervals (IOI) that corresponded to the threshold for pulse attribution. This threshold was 8.6% of the IOI across 28 participants with a wide range of musical training, as compared with 3.5% for detection of anisochrony in the same kind of sequence. Musical training led to lower thresholds for detection of irregularity but had no effect on pulse attribution. The relatively larger amount of anisochrony in pulse attribution may reflect the limit for predicting and synchronising with future events. We suggest that this limit reflects a compromise between tolerance for naturally occurring deviations and the need for precision in timing.     

Tempo discrimination in infants

An habituation/dishabituation paradigm demonstrates that 2- and 4-month-old infants are able to discriminate auditory sequences that vary slightly in tempo. Discriminations were only observed for intermediate tempi (600 ms but not 100, 300, 1500 ms IOI), suggesting that infants have the same optimal tempo range as adults.     

Does expressive timing in music performance scale proportionally with tempo?

Summary Evidence is presented that expressive timing in music is not relationally invariant with global tempo. Our results stem from an analysis of repeated performances of Beethoven's variations on a Paisiello theme. Recordings were made of two pianists playing the pieces at three tempi. In contrast with the relational-invariance hypothesis (see Repp, 1994), between-tempo correlations were in general lower than within-tempo correlations. Analyses of variance of log-transformed inter-onset intervals (IOIs) showed significant interactions between tempo and IOI, i. e., evidence against a proportional relation between timing and tempo. Complex, but consistent, nonproportional patterns were shown in the analyses of the timing of the grace notes in the piece. The analysis suggests that timing aspects of music are closely linked to the musical structure and can be studied and manipulated only respecting this relation — not as a global timing pattern or tempo curve. Finally, it is shown that methodological issues of data collection and analysis had a significant influence on the results.     

Selecting one of two regular sound sequences: perceptual and motor effects of tempo

This study assessed the influence of tempo on selecting a sound sequence. In Exp. 1, synchronization with one of the two regular subsequences in a complex sequence was measured. 30 participants indicated a preference for the fastest subsequence when subsequences were in a slow tempo range (> or = 500 msec. IOI), and with the slower subsequence when they were in the fast tempo range (< or = 300 msec. IOI). These results were replicated using a perceptual task (Exp. 2 and 3) in which the 30 listeners had to detect a temporal irregularity in one of the two subsequences. Detection was better when the temporal irregularity was in the fastest subsequence than in the slowest one when the complex sequence was in a slow tempo range (> or = 500 msec. IOI) and the reverse was obtained when the complex sequence was in a fast tempo range (< or = 180 msec. IOI). These results have implications for design of auditory alarms.     

Detection of linear temporal drift in sound sequences: empirical data and modelling principles

Three experiments determined the perceptual threshold (JND) for detecting tempo change; i.e. linear continuous increase or decrease in inter onset interval (IOI) in sequences with 2-9 brief sounds. JND decreased as a power function of the number of intervals presented (Expt. 1). JND increased with IOI and exhibited breakpoints in this respect close to 1 and 1.4 s (Expt. 3), in agreement with previous results for serial interval production. No interaction was apparent between IOI and number of intervals (Expt. 2). None of the experiments showed any effect of direction (increasing or decreasing intervals). The results are inconsistent with several conceivable principles for perceiving tempo change, except for one in which the external intervals are compared with the intervals generated by an internal, periodic process. The plausibility of this principle is discussed in the light of recent research on sensorimotor synchronisation.     

音乐节拍速度变化的辨别优势认知研究

辨别节拍速度变化是音乐认知能力的重要组成部分。本文通过控制节拍速度的变化量(15%、10%、8%、5%、2%)、变化方向(提前与滞后)、节拍类型(2拍子和3拍子)3个变量,比较了音乐专业大学生和非音乐专业大学生对于节拍速度变化的感知能力。研究结果显示：人们对提前的变化比滞后的变化更敏感,并且这种知觉优势在3拍子条件下更为明显。同时音乐组被试对节拍速度变化的辨别能力显著高于非音乐组,并且这种优势在3拍子中更明显。     

Preferred perceptual tempo for sound sequences: comparison of adults, children, and infants

Previous motor and perceptual tasks have found optimal processing for sound sequences of a rate of around 600 msec. IOI (Interonset Interval). This zone of optimal processing (the rate at which discrimination is optimal) slows with age and is also found with infants. The current work investigated whether listeners "prefer" sequences at the rate for which they demonstrate optimal processing. In the present study, three experiments were done. Exp. 1 measured tempo preferences in adults who listened to pairs of isochronous sound sequences varying in tempo (from 100- to 1500-msec. IOI) and were required to indicate which they preferred. As expected, highest preferences were expressed for the intermediate tempi, supporting the hypothesis of a zone of preferred tempi comparable to the zone of optimal processing. Moreover, this preference for intermediate tempi was not affected by the temporal context (absence of differences between a fast, a slow, and a wide set of tempi). In Exp. 2, the same procedure was applied to 6- and 10-yr.-olds. Children in both groups had systematic preferences for the fastest tempi within a set, and the older children generally preferred slower sequences. Exp. 3 used a preference paradigm for sound sequences with 4-mo.-old infants, comparing sequences of 100- vs 300-msec. IOI, 300- vs 900-msec. IOI, and 100- vs 900-msec. IOI. No systematic tempo preferences were observed. We conclude that tempo discrimination and tempo preference may have some commonality (perhaps related to a zone of optimal processing), especially in adults, but that they also involve quite distinct processes which undergo different developmental sequences. Whereas adults prefer what they process the best, children prefer what is fastest (and therefore more attention-getting), and we have not been able to detect preferences in infants.     

Detecting deviations from metronomic timing in music: Effects of perceptual structure on the mental timekeeper

The detectability of a deviation from metronomic timing—of a small local increment in interonset interval (IOI) duration—in a musical excerpt is subject to positional biases, or “timing expectations,” that are closely related to the expressive timing (sequence of IOI durations) typically produced by musicians in performance (Repp, 1992b, 1998c, 1998d). Experiment 1 replicated this finding with some changes in procedure and showed that the perception-performance correlation is not the result of formal musical training or availability of a musical score. Experiments 2 and 3 used a synchronization task to examine the hypothesis that participants’ perceptual timing expectations are due to systematic modulations in the period of a mental timekeeper that also controls perceptual-motor coordination. Indeed, there was systematic variation in the asynchronies between taps and metronomically timed musical event onsets, and this variation was correlated both with the variations in IOI increment detectability (Experiment 1) and with the typical expressive timing pattern in performance. When the music contained local IOI increments (Experiment 2), they were almost perfectly compensated for on the next tap, regardless of their detectability in Experiment 1, which suggests a perceptual-motor feed-back mechanism that is sensitive to subthreshold timing deviations. Overall, the results suggest that aspects of perceived musical structure influence the predictions of mental timekeeping mechanisms, thereby creating a subliminal warping of experienced time.     

Walking on music

The present study focuses on the intricate relationship between human body movement and music, in particular on how music may influence the way humans walk. In an experiment, participants were asked to synchronize their walking tempo with the tempo of musical and metronome stimuli. The walking tempo and walking speed were measured. The tempi of the stimuli varied between 50 and 190 beats per minute. The data revealed that people walk faster on music than on metronome stimuli and that walking on music can be modeled as a resonance phenomenon that is related to the perceptual resonance phenomenon as described by Van Noorden and Moelants (Van Noorden, L., & Moelants, D. (1999). Resonance in the perception of musical pulse. Journal of New Music Research, 28, 43-66).     

Detecting deviations from metronomic timing in music: effects of perceptual structure on the mental timekeeper.

The detectability of a deviation from metronomic timing--of a small local increment in interonset interval (IOI) duration--in a musical excerpt is subject to positional biases, or "timing expectations," that are closely related to the expressive timing (sequence of IOI durations) typically produced by musicians in performance (Repp, 1992b, 1998c, 1998d). Experiment 1 replicated this finding with some changes in procedure and showed that the perception-performance correlation is not the result of formal musical training or availability of a musical score. Experiments 2 and 3 used a synchronization task to examine the hypothesis that participants' perceptual timing expectations are due to systematic modulations in the period of a mental timekeeper that also controls perceptual-motor coordination. Indeed, there was systematic variation in the asynchronies between taps and metronomically timed musical event onsets, and this variation was correlated both with the variations in IOI increment detectability (Experiment 1) and with the typical expressive timing pattern in performance. When the music contained local IOI increments (Experiment 2), they were almost perfectly compensated for on the next tap, regardless of their detectability in Experiment 1, which suggests a perceptual-motor feedback mechanism that is sensitive to subthreshold timing deviations. Overall, the results suggest that aspects of perceived musical structure influence the predictions of mental timekeeping mechanisms, thereby creating a subliminal warping of experienced time.     

Effects of timbre and tempo change on memory for music

We investigated the effects of different encoding tasks and of manipulations of two supposedly surface parameters of music on implicit and explicit memory for tunes. In two experiments, participants were first asked to either categorize instrument or judge familiarity of 40 unfamiliar short tunes. Subsequently, participants were asked to give explicit and implicit memory ratings for a list of 80 tunes, which included 40 previously heard. Half of the 40 previously heard tunes differed in timbre (Experiment 1) or tempo (Experiment 2) in comparison with the first exposure. A third experiment compared similarity ratings of the tunes that varied in timbre or tempo. Analysis of variance (ANOVA) results suggest first that the encoding task made no difference for either memory mode. Secondly, timbre and tempo change both impaired explicit memory, whereas tempo change additionally made implicit tune recognition worse. Results are discussed in the context of implicit memory for nonsemantic materials and the possible differences in timbre and tempo in musical representations.     

Tapping in synchrony with a perturbed metronome: the phase correction response to small and large phase shifts as a function of tempo

When tapping is paced by an auditory sequence containing small phase shift (PS) perturbations, the phase correction response (PCR) of the tap following a PS increases with the baseline interonset interval (IOI), leading eventually to overcorrection (B. H. Repp, 2008). Experiment 1 shows that this holds even for fixed-size PSs that become imperceptible as the IOI increases (here, from 400 to 1200 ms). Earlier research has also shown (but only for IOI=500 ms) that the PCR is proportionally smaller for large than for small PSs (B. H. Repp, 2002a, 2002b). Experiment 2 introduced large PSs and found smaller PCRs than in Experiment 1, at all of the same IOIs. In Experiments 3A and 3B, the author investigated whether the change in slope of the sigmoid function relating PCR and PS magnitudes occurs at a fixed absolute or relative PS magnitude across different IOIs (600, 1000, 1400 ms). The results suggest no clear answer; the exact shape of the function may depend on the range of PSs used in an experiment. Experiment 4 examined the PCR in the IOI range from 1000 to 2000 ms and found overcorrection throughout, but with the PCR increasing much more gradually than in Experiment 1. These results provide important new information about the phase correction process and pose challenges for models of sensorimotor synchronization, which presently cannot explain nonlinear PCR functions and overcorrection.     

It's not what you play,it's how you play it: Timbre affects perception of emotion in music

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18–30 years, 24 older adults aged 58–75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors.     

Coupling of postural and manual tasks in expert performers

The purpose of this study was to investigate the integration of bimanual rhythmic movements and posture in expert marching percussionists. Participants (N = 11) performed three rhythmic manual tasks [1:1, 2:3, and 2:3-F (2:3 rhythm played faster at a self-selected tempo)] in one of three postures: sitting, standing on one foot, and standing on two feet. Discrete relative phase, postural time-to-contact, and coherence analysis were used to analyze the performance of the manual task, postural control, and the integration between postural and manual performance. Across all three rhythms, discrete relative phase mean and variability results showed no effects of posture on rhythmic performance. The complexity of the manual task (1:1 vs. 2:3) had no effect on postural time-to-contact. However, increasing the tempo of the manual task (2:3 vs. 2:3-F) did result in a decreased postural time-to-contact in the two-footed posture. Coherence analysis revealed that the coupling between the postural and manual task significantly decreased as a function of postural difficulty (going from a two-footed to a one-footed posture) and rhythmic complexity (1:1 vs. 2:3). Taken together, these results demonstrate that expert marching percussionists systematically decouple postural and manual fluctuations in order to preserve the performance of the rhythmic movement task.     

Variability of timing in expressive piano performance increases with interval duration

In simple motor tasks such as finger tapping at different constant rates, within-trial variability of response interonset intervals (IOIs) increases with IOI duration (which varies between trials). In expressive piano performance, the rate of key depressions is not constant, in part due to compositional structure and in part due to expressive timing, so that IOIs of many different durations occur within a single “trial.” Nevertheless, across repeated performances of the same music (Schumann’s “Träumerei” and Debussy’s “La fille aux cheveux de lin”) at the same intended tempo, the standard deviations of individual IOIs tend to increase linearly with their average duration. This is also true when the variation is due to expressive timing alone and when unintended differences in basic tempo between performances are taken into account. In the music studied here, at least, there was no evidence of compensatory timing. The results suggest that the pianists employed a continuously variable tempo governed by a flexible internal timekeeper whose variability follows a generalized Weber’s law (for IOIs longer than about 300 msec).     

Studies in auditory timing: 2. Rhythm patterns

Listeners discriminated between 6-tone rhythmic patterns that differed only in the delay of the temporal position of one of the tones. On each trial, feedback was given and the subject's performance determined the amount of delay on the next trial. The 6 tones of the patterns marked off 5 intervals. In the first experiment, patterns comprised 3 "short" and 2 "long" intervals: 12121, 21121, and so forth, where the long (2) was twice the length of a short (1). In the second experiment, patterns were the complements of the patterns in the first experiment and comprised 2 shorts and 3 longs: 21212, 12212, and so forth. Each pattern was tested 45 times (5 positions of the delayed tone x 3 tempos x 3 replications). Consistent with previous work on simple interval discrimination, absolute discrimination (delta t in milliseconds) was poorer the longer the intervals (i.e., the slower the tempo). Measures of relative discrimination (delta t/t, where t was the short interval, the long interval, or the average of 2 intervals surrounding the delayed tone) were better the slower the tempo. Beyond these global results, large interactions of pattern with position of the delayed tone and tempo suggest that different models of performance are needed to explain behavior at the different tempos. A Weber's law model fit the slow-tempo data better than did a model based on positions of "natural accent" (Povel & Essens, 1985).     

Information processing limitations as revealed by temporal discrimination

Information processing limit is a fundamental issue in cognitive psychology. One particular way of studying it is to adopt a temporal span perspective. In this experiment, Weber fractions based on thresholds for duration discrimination are used for adopting this perspective. The results showed that, contrary to the constant predicted by Weber's law, the Weber fraction is larger at 2 than at .2 s. This increase is observed in conditions where inter-trial intervals and cognitive load are manipulated, and is argued to be due to the fact that 2 s is beyond a temporal span limit for processing information.     

Emotional Responses to Music: Interactive Effects of Mode,Texture, and Tempo

Although much research has explored emotional responses to music using single musical elements, none has explored the interactive effects of mode, texture, and tempo in a single experiment. To this end, a 2 (mode: major vs. minor) × 2 (texture: nonharmonized vs. harmonized) × 3 (tempo: 72, 108, 144 beats per min) within-participants experimental design was employed, in which 177 college students rated four, brief musical phrases on continuous happy-sad scales. Major keys, nonharmonized melodies, and faster tempos were associated with happier responses, whereas their respective opposites were associated with sadder responses. These effects were also interactive, such that the typically positive association between tempo and happiness was inverted among minor, nonharmonized phrases. Some of these effects were moderated by the gender and amount of musical experience of participants. A principal components analysis of responses to the stimuli revealed one negatively and one positively valenced factor of emotional musical stimuli.     

The crossed-hands deficit in tactile temporal-order judgments: the effect of training

Several recent studies have shown that judgments of temporal order for tactile stimuli presented to the two hands are greatly affected by crossing the hands. The size of the threshold for judging temporal order may be up to four times larger with the hands crossed as compared to the hands uncrossed. The results from these recent studies suggest that with crossed hands, contrary to many situations involving the integration of tactile and proprioceptive information, subjects have difficulty in adjusting their perception of tactile inputs to correspond with the spatial positions of the hands. In the present study we examined the effect of training in judging temporal order on the size of this crossed-hands deficit--the difference in the thresholds for temporal-order judgments when the hands are crossed and uncrossed. All training procedures produced significant declines in the size of the deficit. With training, the difference between crossed-hands and uncrossed-hands temporal-order thresholds dropped from several hundred milliseconds to as little as 19 ms. A group of percussionists with experience in playing with crossed hands showed the same crossed-hands effects as non-musicians. The results were consistent in showing that the crossed-hands deficit was never completely eliminated but was greatly reduced with training. The implication is that subjects are able to adjust to the crossed-hands posture with modest amounts of training. The results are discussed in terms of the explanations that have been offered for the crossed-hands deficit.     

Effects of Music on Physiological Arousal: Explorations into Tempo and Genre

Two experiments explore the validity of conceptualizing musical beats as auditory structural features and the potential for increases in tempo to lead to greater sympathetic arousal, measured using skin conductance. In the first experiment, fast- and slow-paced rock and classical music excerpts were compared to silence. As expected, skin conductance response (SCR) frequency was greater during music processing than during silence. Skin conductance level (SCL) data showed that fast-paced music elicits greater activation than slow-paced music. Genre significantly interacted with tempo in SCR frequency, with faster tempo increasing activation for classical music and decreasing it for rock music. A second experiment was conducted to explore the possibility that the presumed familiarity of the genre led to this interaction. Although further evidence was found for conceptualizing musical beat onsets as auditory structure, the familiarity explanation was not supported.