Cooperative tapping: time control under different feedback conditions.

The same isochronous tone sequence was presented simultaneously to two mutually isolated subjects. In half the trials, accentuation in this sequence was accomplished by doubling the duration of the first and then of every fourth tone; in the other half, by doubling the frequency of those tones. The subjects' task was to follow the rhythm of the resulting four-tone patterns by finger tapping to tone onsets. There were four auditory feedback (FB) conditions: (1) no FB; (2) FB from the subject's own motor responses; (3) "alien" FB from the motor responses of the other pair member who, in turn, was listening to FB from his/her own tapping; (4) mutually "crossed" FB, where each pair member listened to FB from the tapping of the other. Tap onsets regularly preceded stimulus onsets. The observed order of the amount of this anticipation (from least to greatest) was: (1) own FB, (2) no FB, (3) alien FB, and (4) crossed FB. No mutual dynamic influence between simultaneously performing subjects was detected. Anticipation was more pronounced for sequences that were accentuated by frequency rather than by duration changes. The type of accent also influenced timing of intertap intervals in the rhythmic patterns. For the frequency accent, regular timing was produced, whereas for the durational accent, shortening of the second and lengthening of the fourth (the last) intertap interval were observed. The presence and source of feedback as well as the character of accentuation are therefore relevant factors in the timing of auditorally controlled rhythmic motor behavior.     

The influence of perceptual and motor factors on bimanual coordination in a polyrhythmic tapping task

Summary In this study the role of perceptual and motor factors on the motor organization (integrated versus parallel) adopted by musically skilled and unskilled subjects in a polyrhythmic tapping task was investigated. Subjects tapped a 3:2 polyrhythm to match the timing of two isochronous tone trains, one tone train for each hand. Perceptual factors were examined by the manipulation of the frequency difference between the tone trains to produce either an integrated or a streamed percept. Motor factors were examined by comparison of performance on two versions of the 3:2 polyrhythm. In one (simultaneous) version, each cycle of the polyrhythm began with a simultaneous left- and right-hand tap. In the other (shifted) version a 100-ms interval was introduced between the initial left and right taps in each cycle. Examination of the pattern of variances and covariances among intertap intervals suggested that most of the subjects in this study adopted an integrated motor organization that involved interleaving the timing of the two hands. Further analysis revealed that a serial chained model described the pattern of covariances best for the simultaneous pattern, whereas a hierarchical organization described the pattern of covariances for the shifted pattern best. The finding that performance was more accurate with integrated tones than with streamed tones provides some support for a perceptual-motor facilitation hypothesis.     

Bimanual tapping of a syncopated rhythm reveals hemispheric preferences for relative movement frequencies

In bimanual multifrequency tapping, right-handers commonly use the right hand to tap the relatively higher rate and the left hand to tap the relatively lower rate. This could be due to hemispheric specializations for the processing of relative frequencies. An extension of the double-filtering-by-frequency theory to motor control proposes a left hemispheric specialization for the control of relatively high and a right hemispheric specialization for the control of relatively low tapping rates. We investigated timing variability and rhythmic accentuation in right handers tapping mono- and multifrequent bimanual rhythms to test the predictions of the double-filtering-by-frequency theory. Yet, hemispheric specializations for the processing of relative tapping rates could be masked by a left hemispheric dominance for the control of known sequences. Tapping was thus either performed in an overlearned quadruple meter (tap of the slow rhythm on the first auditory beat) or in a syncopated quadruple meter (tap of the slow rhythm on the fourth auditory beat). Independent of syncopation, the right hand outperformed the left hand in timing accuracy for fast tapping. A left hand timing benefit for slow tapping rates as predicted by the double-filtering-by-frequency theory was only found in the syncopated tapping group. This suggests a right hemisphere preference for the control of slow tapping rates when rhythms are not overlearned. Error rates indicate that overlearned rhythms represent hierarchically structured meters that are controlled by a single timer that could potentially reside in the left hemisphere.     

The timing effects of accent production in synchronization and continuation tasks performed by musicians and nonmusicians

Two groups of subjects differing in their musical expertise produced periodic finger-tapping sequences involving a pattern of accentuation. In some situations, the taps were synchronized with the clicks of a metronome. We recorded the trajectory of the subjects' finger displacement in the vertical plane, and the force and the moment of occurrence of the taps on the response key. Musicians tended to equalize the durations of the downstrokes at all positions in the sequence. Nonmusicians moved their finger quickly to produce the accent, and more slowly to produce the subsequent tap. These variations in the movement-execution time were partly compensated by opposite variations in the onsets of the movements, e.g., the short-duration movements were delayed. Despite these differences in their movement strategies, musicians and nonmusicians generated very similar tap-timing profiles. The intertap interval after the accent was lengthened regardless of the subjects' musical expertise and the metronome conditions (metronome present or absent). The lengthening did not depend on whether the interval before the accent was shortened (without the metronome) or not (with the metronome). It is suggested that an internal timekeeper may generate temporal goal points at which the keytaps should occur. The lengthening of the interval after the accent is attributed to transient changes in the working of the internal clock.     

The Timing Effects of Accent Production in Periodic Finger-Tapping Sequences

When subjects are required to produce short sequences of equally paced finger taps and to accentuate one of the taps, the interval preceding the forceful tap is shortened and the one that immediately follows the accent is lengthened. Assuming that the tapping movements are triggered by an internal clock, one explanation attributes the rnistiming of the taps to central factors: The momentary rate of the clock is accelerated or decelerated as a function of motor preparation to, respectively, increase or decrease the movement force. This hypothesis predicts that the interresponse intervals measured between either tap movement onsets or movement terminations (taps) will show the same timing pattern. A second explanation for the observed interval effects is that the tapping movements are triggered by a regular internal clock but the timing of the successive taps is altered because the forceful movement is completed in less time than the other tap movements are. This "peripheral" hypothesis predicts regular timing of movement onsets but distorted timing of movement terminations. In the present study, the trajectories of the movements performed by subjects were recorded and the interresponse intervals were measured at the beginning and the end of the tapping movements. The results of Experiment 1 showed that neither model can fully explain the interval effects: The fast forceful movements were initiated with an additional delay that took into account the small execution time of these movements. Experiment 2 reproduced this finding and showed that the timing of the onset and contact intervals did not evolve with the repetition of trial blocks. Therefore, the assumption of an internal clock that would trigger the successive movements must be rejected. The results are discussed in the framework of a modified two-stage model in which the internal clock, instead of triggering the tapping movements, provides target time points at which the movements have to produce their meaningful effects, that is, contacts with the response key. The timing distortions are likely to reflect both peripheral and central components.     

The Timing Effects of Accent Production in Periodic Finger-Tapping Sequences

When subjects are required to produce short sequences of equally paced finger taps and to accentuate one of the taps, the interval preceding the forceful tap is shortened and the one that immediately follows the accent is lengthened. Assuming that the tapping movements are triggered by an internal clock, one explanation attributes the mistiming of the taps to central factors: The momentary rate of the clock is accelerated or decelerated as a function of motor preparation to, respectively, increase or decrease the movement force. This hypothesis predicts that the interre-sponse intervals measured between either tap movement onsets or movement terminations (taps) will show the same timing pattern. A second explanation for the observed interval effects is that the tapping movements are triggered by a regular internal clock but the timing of the successive taps is altered because the forceful movement is completed in less time than the other tap movements are. This “peripheral” hypothesis predicts regular timing of movement onsets but distorted timing of movement terminations. In the present study, the trajectories of the movements performed by subjects were recorded and the interresponse intervals were measured at the beginning and the end of the tapping movements. The results of Experiment 1 showed that neither model can fully explain the interval effects: The fast forceful movements were initiated with an additional delay that took into account the small execution time of these movements. Experiment 2 reproduced this finding and showed that the timing of the onset and contact intervals did not evolve with the repetition of trial blocks. Therefore, the assumption of an internal clock that would trigger the successive movements must be rejected. The results are discussed in the framework of a modified two-stage model in which the internal clock, instead of triggering the tapping movements, provides target time points at which the movements have to produce their meaningful effects, that is, contacts with the response key. The timing distortions are likely to reflect both peripheral and central components.     

Sensorimotor synchronization: Motor responses to pseudoregular auditory patterns

Musically trained and untrained subjects (N=30) were asked to synchronize their finger tapping with stimuli in auditory patterns. Each pattern comprised six successive tonal stimuli of the same duration, the first of which was accented by a different frequency. The duration of interstimulus onset intervals (ISIs) gradually increased or decreased in constant steps toward the end of the patterns. Four values of such steps were used in different trials: 20, 30, 45, and 60 msec. Various time-control mechanisms are hypothesized as being simultaneously responsible for subjects’ incorrect reproduction of the internal temporal ratios of the stimulus patterns. The mechanism of assimilation (of a central tendency) led subjects to enforce a regular (isochronous) structure on the patterns. The influence of other time-control mechanisms (distinction, subjective expression of an accent, sequential transfer) was expressed mainly in differences between intertap onset intervals (ITIs) and the corresponding ISIs at the beginning of the patterns. The duration of the first two ITIs was in the majority of the trials in an inverse ratio to the ratio of the respective ISIs. The distortions resulting from the timing mechanisms concerned were more pronounced in the performance of nonmusicians than in that of musicians.     

Relation between self-paced and synchronized movement in persons with mental retardation

The relation between self-paced and synchronized tapping in 64 persons with mental retardation whose mental ages ranged from 2 to 11 years and chronological ages from 13 to 23 years was investigated. In a self-paced tapping task no stimulus was presented, and subjects' easy and spontaneous tapping was measured. In a synchronized tapping task their synchronous tapping with an auditory stimulus present at a quick or slow tempo was measured. Under both tempo conditions, the lower the subjects' mental age, the larger the errors in the intertap interval they made. The subjects of low mental age showed significantly larger errors in the intertap interval in the Slow than in the Quick Tempo condition and tended to tap at a rate near the self-paced tapping. These results may suggest that ability to adjust one's self pace is one of the key factors in the development of motor synchronization in persons with mental retardation.     

Adolescents with Down syndrome exhibit greater force and delay in onset of tapping movements

This study examined the control of force and timing during finger tapping sequences of adolescents with Down syndrome. Participants performed both unimanual and bimanual tapping tasks with one self-paced test trial after three audible-synchronized practice trials with concurrent feedback of force output. All tasks consisted of a target force of 2N and a target intertap interval of 500 msec. Adolescents with Down syndrome exhibited a greater magnitude of positive constant error and variable error for peak force than typical adolescents. They also exhibited a greater magnitude of negative constant error and variable error for intertap interval than typical adolescents. Although normally developing comparison adolescents exhibited a linear relationship between peak force and press duration or time-to-peak force, the relationship was not familiar to adolescents with Down's syndrome. This may suggest differences in the manner of motor unit recruitment between the group with Down's syndrome and comparison adolescents.     

Hand differences in the rate and variability of rapid tapping

Hand differences in the rate and variability of rapid tapping were evaluated for the intertap interval and its constituents-the key depression and key release phases of each tap. To accentuate potential hand differences, only subjects with a clear manual superiority in one hand were included. Relative manual proficiency on Fitts' reciprocal tapping task was used to exclude individuals with less-defined hand superiority or dominance, and to categorize subjects as having a dominant left (n=13) or right (n=11) hand. Analysis of variance indicated the dominant hand to have a shorter average intertap interval and thus a faster tapping rate. This hand difference in rate was found to be significant for the key-depression phase, but not the key-release.phase, of the tap. In each handedness group the dominant hand exhibited less variability in the intertap interval and both constituents. Potential associations of these findings with hemispheric asymmetries in sequential ability are discussed.     

Retention of relative force in the scaling of a serial force pattern with an attenuated-force tap

The present study was designed to examine the retention of relative force in the scaling of a serial force pattern in a finger-tapping sequence using an attenuated tap. On practice trials, 12 undergraduate students tapped a force plate connected to strain gauges that gave them feedback about the force. On test trials, participants recalled the force pattern (200 gm-200 gm-200 gm-100 gm) and the intertap interval (400 msec.) practiced during the practice period without the feedback (recalled task). Then, they adaptively produced a halved (halved task) or doubled force profile (doubled task) at the fixed intertap interval. Analyses showed that mean peak forces at the first three tap positions of the tapping sequence undershot the expected forces across all tasks. Hence, the ratios of the forces in Serial Positions 1:4, 2:4, and 3:4 were considerably lower than 2.0. This is a contextual effect suggesting that the last attenuated tap affected the first three taps of the tapping sequence. Thus, because the relative force of movements appears to be a weaker invariant feature than sequencing and relative timing for generalized motor program theory of Schmidt and Lee, this finding does not support the relative force for a generalized motor program.     

Ideomotor effects of pitch on continuation tapping

The ideomotor principle predicts that perception will modulate action where overlap exists between perceptual and motor representations of action. This effect is demonstrated with auditory stimuli. Previous perceptual evidence suggests that pitch contour and pitch distance in tone sequences may elicit tonal motion effects consistent with listeners' implicit awareness of the lawful dynamics of locomotive bodies. To examine modulating effects of perception on action, participants in a continuation tapping task produced a steady tempo. Auditory tones were triggered by each tap. Pitch contour randomly and persistently varied within trials. Pitch distance between successive tones varied between trials. Although participants were instructed to ignore them, tones systematically affected finger dynamics and timing. Where pitch contour implied positive acceleration, the following tap and the intertap interval (ITI) that it completed were faster. Where pitch contour implied negative acceleration, the following tap and the ITI that it completed were slower. Tempo was faster with greater pitch distance. Musical training did not predict the magnitude of these effects. There were no generalized effects on timing variability. Pitch contour findings demonstrate how tonal motion may elicit the spontaneous production of accents found in expressive music performance.     

Asymmetric control of force and symmetric control of timing in bimanual finger tapping

An experiment was conducted to examine the control of force and timing in bimanual finger tapping. Participants were trained to produce both unimanual (left or right hand) and bimanual finger-tapping sequences with a peak force of 200 g and an intertap interval (ITI) of 400 ms. During practice, visual force feedback was provided pertaining to the hand performing the unimanual tapping sequences and to either the dominant or the nondominant hand in the bimanual tapping sequences. After practice, the participants produced the learned unimanual and bimanual tapping sequences in the absence of feedback. In those trials the force produced by the dominant (right) hand was significantly larger than that produced by the nondominant (left) hand, in the absence of a significant difference between the ITIs produced by both hands. Furthermore, after unilateral feedback had been provided of the force produced by the nondominant hand, the force output of the dominant hand was significantly more variable than that of the nondominant hand. In contrast, after feedback had been provided of the force produced by the dominant hand, the variability of the force outputs of the two hands did not differ significantly. These results were discussed in the light of both neurophysiological and anatomical findings, and were interpreted to imply that the control of timing (in bimanual tasks) may be more tightly coupled in the motor system than the control of force.     

Harmonic accents in inference of metrical structure and perception of rhythm patterns

Research on rhythmic structure is somewhat fragmented, due in part to differential use ofterminology and a lack of research on the timing of harmonic accents. In this study, a harmonic and a temporal accent were pitted against each other in such a way as to form different rhythm patterns. In addition, two harmonic conditions that varied in the frequency of chord presentations (i.e., the composite rhythm) but not in the frequency of chord changes (i.e., the harmonic rhythm) were presented. Musicians and nonmusicians were requested to report perceived rhythm patterns inan attempt to determine the relative salience of the harmonic and temporal accents. In addition, a behavioral measure of the perceivedmeter was taken. Results indicated that the location of chord changes was the main determinant of subjects’ rhythmic perceptions and the perceived onset of a measure. Furthermore, although subjects primarily inferred different meters based on the composite rhythm, an interaction of metrical and rhythmic choices was found, indicating that perception ofrhythm patterns and inference of metrical structure may notalways be independent.     

Accents in equitone sequences

Equitone sequences are defined as sequences of tones that are identical in all respects: frequency, spectral composition, intensity, and duration. The only parameter varied in these sequences is the time-interval between tones. In such sequences, clear accents are perceived. This paper describes accent perception in equitone sequences containing two alternating intervals; such sequences are perceived as consisting of repeating groups of two tones. An accent is heard on the first tone of a group if the difference between the intervals is about 5% to 10%. If the difference is made bigger, the accent is heard on the last tone of the group; this latter accent is considerably stronger than the accent previously heard on the first tone. In a number of experiments, the conditions under which the two types of accents occur were investigated. From these experiments, it was tentatively concluded that the accent on the last tone is heard because that tone, since it is followed by a longer interval, can be processed more completely. This “intervalproduced” accent indeed occurs only if the between-group interval is considerably longer than the within-group interval and if the latter does not exceed a duration of about 250 msec. The effect is slightly dependent on tone duration. The interval-produced accent can be balanced if the nonaccented tone is increased by about 4 dB in intensity. This shows that the effect is quite robust. The specific type of accentuation reported here might explain some rhythmical phenomena, examples of which are given.     

Left-handers and right-handers compared on a motor task

Finger-tapping performance of 45 subjects of each sex and handedness combination, for a total of 180, was compared. Performance measures were speed (mean intertap interval) and regularity (standard deviation of intertap interval). Males tapped faster but not more regularly than females. The between-hand differences in performance were smaller for both measures in left-handers. When absolute magnitudes of between hand differences were compared, females showed smaller differences in regularity of tapping than males. Speed and regularity of tapping were statistically independent; both measures discriminated well between the preferred and nonpreferred hand of both handedness groups, but the differences in speed were more marked than the differences in regularity. Data on the performance of children on the same task are included for comparative purposes.     

Interactions of speech and manual movement in a syncopated task

The present study examined interactions of speech production and finger-tapping movement, using a syncopated motor task with two movements in 10 male right-handed undergraduate students (M age = 21.0 yr.; SD = 1.4). On the syncopated task, participants were required to produce one movement exactly midway between two other movements (target interresponse interval: 250 msec.). They were divided into two groups, the tap-preceding group and speech-preceding group. The author observed that the right hand showed a more variable peak force and intertap interval than the left hand in the speech-preceding group, indicating an asymmetrical interference of two movements. On the other hand, the mean differences between onsets of speech and tapping movement were shorter than 250 msec. over all conditions (the shortest mean difference was 50 msec.), suggesting a mutual entrainment of two movements. An asymmetry of entrainment was observed in the speech-preceding group, in which speech production was more strongly entrained with movements of the right hand than with those of the left hand.     

The beneficial effect of synchronized action on motor and perceptual timing in children

We examined the role of action in motor and perceptual timing across development. Adults and children aged 5 or 8 years old learned the duration of a rhythmic interval with or without concurrent action. We compared the effects of sensorimotor versus visual learning on subsequent timing behaviour in three different tasks: rhythm reproduction (Experiment 1), rhythm discrimination (Experiment 2) and interval discrimination (Experiment 3). Sensorimotor learning consisted of sensorimotor synchronization (tapping) to an isochronous visual rhythmic stimulus (ISI = 800 ms), whereas visual learning consisted of simply observing this rhythmic stimulus. Results confirmed our hypothesis that synchronized action during learning systematically benefitted subsequent timing performance, particularly for younger children. Action‐related improvements in accuracy were observed for both motor and perceptual timing in 5 years olds and for perceptual timing in the two older age groups. Benefits on perceptual timing tasks indicate that action shapes the cognitive representation of interval duration. Moreover, correlations with neuropsychological scores indicated that while timing performance in the visual learning condition depended on motor and memory capacity, sensorimotor learning facilitated an accurate representation of time independently of individual differences in motor and memory skill. Overall, our findings support the idea that action helps children to construct an independent and flexible representation of time, which leads to coupled sensorimotor coding for action and time.     

VOLITIONAL ASPECTS OF VOICE PERFORMANCE: AN EXPERIMENTAL APPROACH

The subjects (all females) were instructed to hold a certain note. In some of the trials an alien (female) voice with a continuously falling or rising frequency unexpectedly replaced the subject's own voice as the auditory stimulus in her headphone. Most of the subjects took the alien voice as their own and experienced a complete lack of volitional control over their own voice. A compensatory behaviour was found; when the subjects tried to hold the note the frequency of their voices went in the opposite direction to the frequency of the alien voice.     

Timing and aging: slowing of fastest regular tapping rate with preserved timing error detection and correction

This study assessed motor limits of regular tapping, timing error detection, and correction in 60 participants aged from 19 to 98 years. Rate limitations on motor production were estimated from the average inter-tap interval when tapping as fast as possible for 30 s. Timing error detection required participants to judge whether a sound sequence presented at a slow, intermediate, or fast speed contained an irregularity because of phase shift. This was performed with or without synchronizing to the sounds. On the basis of the just-detectable positive phase shift (JND), participants synchronized with sequences containing phase shifts that were subliminal, just detectable or supraliminal. On average, JNDs were 9% of the inter-onset interval and by and large were not affected by synchronization tapping. Speed of error correction was estimated from the number of tones to return within 20% of the preshift synchronization error. Consistent with previous findings of motor slowing with aging, the fastest inter-tap interval increased with age. However, there was no age-related decline in JNDs or speed of error correction, both of which reflect predictive abilities for intervals within the motor repertoire of human adults. These results point towards intact timing error processing up to an advanced age. In assessing timing abilities in the brain of older adults, it is important to differentiate between motor slowing and its impact on rhythmic behavior (e.g., walking pace) from anticipatory mechanisms ('what to expect when') and how these are used to adjust the timing of actions ('what to do when').