Hearing a melody in different ways: multistability of metrical interpretation, reflected in rate limits of sensorimotor synchronization

Music commonly induces the feeling of a regular beat (i.e., a metrical structure) in listeners. However, musicians can also intentionally impose a beat (i.e., a metrical interpretation) on a metrically ambiguous passage. The present study aimed to provide objective evidence for this little-studied mental ability. Participants were prompted with musical notation to adopt different metrical interpretations of a cyclically repeated isochronous 12-note melody while tapping in synchrony with specified target tones in the melody. The target tones either coincided with the imposed beat (on-beat tapping) or did not (off-beat tapping). An adaptive staircase method was employed to determine the fastest tempo at which each synchronization task could be performed. For each metrical interpretation, a significant advantage for on-beat over off-beat tapping was obtained - except in a condition in which participants, instead of synchronizing, were in control of the target tones. By showing that a self-imposed beat can affect sensorimotor synchronization, the present results provide objective evidence for endogenous perceptual organization of metrical sequences. It is hypothesized that metrical interpretation rests upon covert rhythmic action.     

Book Reviews

Books reviewed in this article:
E ngel , J ames F., K ollat , D avid T., and B lackwell , R oger D. Consumer Behavior.
L itwin , G eorge H., and S tringer , R obert A. J r . Motivation and Organizational Climate.
K irkpatrick , J ames J., E wen , R obert B., B arrett , R ichard S., and K atzell , R aymond A. Testing and Fair Employment: Fairness and Validity of Personnel Tests for Diferent Ethnic Groups.
G eist , H arold . The Psychological Aspects of Retirement.
H olden , P aul E., P ederson , C arlton A., and G ermane , G ayton E. Top Management.
C alvert , R obert , J r . Employing the Minority Group College Graduate (Recruiting, Evaluating Qualifications, Retaining Employees).
E dwards , A llen L. Experimental Design in Psychological Research
G laser , B arney G. (Editor) Organizational Careers: A Source-book for Theory.
Management Education and Development.
B ittel , L ester R. What Every Supervisor Should Know.
M c M urry , R obert N., and A rnold , J ames S. How to Build a Dynamic Sales Organization.
Z ytowski , D onald G. (Editor) Vocational Behavior: Readings in Theory and Research.
H erman , S tanley M. The Peopte Specialists.
Evaluation of Executive Performance.
M c F arland , D alton E. Personnel Management: Theory and Practice.
M ussen , P aul H., and R osenzweig , M ark R. (Eds.) Annual Review of Psychology, Volume 60, 1969.     

Tracking simple and complex sequences

We address issues of synchronization to rhythms of musical complexity. In two experiments, synchronization to simple and more complex rhythmic sequences was investigated. Experiment 1 examined responses to phase and tempo perturbations within simple, structurally isochronous sequences, presented at different base rates. Experiment 2 investigated responses to similar perturbations embedded within more complex, metrically structured sequences; participants were explicitly instructed to synchronize at different metrical levels (i.e., tap at different rates to the same rhythmic patterns) on different trials. We found evidence that (1) the intrinsic tapping frequency adapts in response to temporal perturbations in both simple (isochronous) and complex (metrically structured) rhythms, (2) people can synchronize with unpredictable, metrically structured rhythms at different metrical levels, with qualitatively different patterns of synchronization seen at higher versus lower levels of metrical structure, and (3) synchronization at each tapping level reflects information from other metrical levels. The latter finding provides evidence for a dynamic and flexible internal representation of the sequence's metrical structure.     

Adaptation to tempo changes in sensorimotor synchronization: Effects of intention, attention, and awareness

Adaptation to tempo changes in sensorimotor synchronization is hypothesized to rest on two processes, one (phase correction) being largely automatic and the other (period correction) requiring conscious awareness and attention. In this study, participants tapped their finger in synchrony with auditory sequences containing a tempo change and continued tapping after sequence termination. Their intention to adapt or not to adapt to the tempo change was manipulated through instructions, their attentional resources were varied by introducing a concurrent secondary task (mental arithmetic), and their awareness of the tempo changes was assessed through perceptual judgements. As predicted, period correction was found to be strongly dependent on all three variables, whereas phase correction depended only on intention.     

Journal Reviews

[Authors are invited to submit for review articles published in learned journals on subjects relevant to this section. They may also send chapters which would be of interest to our readers, but which were written for books that neither the publisher nor the editor of the book is submitting to our Book Review section.]
A igrisse , G. (France). 'Sensation et créativité'
B eyme , F. (Basel). 'Die Psychosomatik der Kranken mit Migräne und Kopfschmerz' (The Psychosomatic condition of patients with migraine and headaches)
C antaerts M. (Brussels). 'Le transfert, Jung, l'hysterique'
D reifuss , G. (Haifa). 'Psychotherapy of Nazi victims'. Psychotherapy and Psychosomatics
G ordon -M ontagnon , R. (London). 'Le codit', in Cahiers de Psychologie Jungienne
M eier , C. A. (Zürich). 'Science et conscience'
N agy , M arilyn (Palo Alto). 'Menstruation and Shamanism'. Psychological Perspectives
P laut , A. (London). 'General Gordons Paradies'. Analytische Psychologie
R auhala , L. (Helsinki). 'The problem of meaning in psychology and psychiatry', in Studies in the Theory of Values
S amuels , A ndrew (London). 'Fragmentary vision: a central training aim'
Rivista di Psicologia Analitica     

Processes underlying adaptation to tempo changes in sensorimotor synchronization

In synchronizing finger taps with an auditory sequence, a small sudden tempo ("step") change in the sequence tends to be followed by rapid adaptation of the tapping period but slow adaptation of the relative phase of the taps, whereas a larger step change leads to initial period overshoot followed by rapid adaptation of both period and phase [M.H. Thaut, R.A. Miller, L.M. Schauer, Biological Cybernetics 79 (1998a) 241-250]. Experiment 1 replicated these findings and showed that the transition between the two patterns of adaptation occurs near the perceptual detection threshold for a tempo change. A reasonable explanation of these data was provided by a dual-process model of internal error correction [J. Mates, Biological Cybernetics 70 (1994a) 463-473, 70 (1994b) 475-484], with the added assumption that one process (period correction) depends on conscious awareness of a tempo change whereas the other (phase correction) does not. This assumption received support in Experiment 2, where a synchronization-continuation tapping task was used in combination with perceptual judgments to probe into the process of period correction following step changes. The results led to the conclusion that rapid adaptation of the tapping period to a small, undetected tempo change is in fact due to rapid internal phase correction, whereas slow adaptation of the relative phase of the taps is due to slow internal period correction.     

Regularity of unit length boosts statistical learning in verbal and nonverbal artificial languages

Humans have remarkable statistical learning abilities for verbal speech-like materials and for nonverbal music-like materials. Statistical learning has been shown with artificial languages (AL) that consist of the concatenation of nonsense word-like units into a continuous stream. These ALs contain no cues to unit boundaries other than the transitional probabilities between events, which are high within a unit and low between units. Most AL studies have used units of regular lengths. In the present study, the ALs were based on the same statistical structures but differed in unit length regularity (i.e., whether they were made out of units of regular vs. irregular lengths) and in materials (i.e., syllables vs. musical timbres), to allow us to investigate the influence of unit length regularity on domain-general statistical learning. In addition to better performance for verbal than for nonverbal materials, the findings revealed an effect of unit length regularity, with better performance for languages with regular- (vs. irregular-) length units. This unit length regularity effect suggests the influence of dynamic attentional processes (as proposed by the dynamic attending theory; Large & Jones (Psychological Review 106: 119–159, 1999)) on domain-general statistical learning.     

Sensorimotor synchronization: A review of recent research (2006–2012)

Sensorimotor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm, ranging from finger tapping in time with a metronome to musical ensemble performance. An earlier review (Repp, 2005) covered tapping studies; two additional reviews (Repp, 2006a, b) focused on music performance and on rate limits of SMS, respectively. The present article supplements and extends these earlier reviews by surveying more recent research in what appears to be a burgeoning field. The article comprises four parts, dealing with (1) conventional tapping studies, (2) other forms of moving in synchrony with external rhythms (including dance and nonhuman animals’ synchronization abilities), (3) interpersonal synchronization (including musical ensemble performance), and (4) the neuroscience of SMS. It is evident that much new knowledge about SMS has been acquired in the last 7 years.     

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.     

Effects of accenting and regularity on the detection of temporal deviations: does regularity facilitate performance?

In an experiment on the effect of intensity accents on the perception of time intervals between tones, H. G. Tekman (2001) found that the regular placement of deviant time intervals in short sequences of tones reduced detection, especially if intensity accents marked the deviant time intervals. That was the opposite of what one would have expected on the basis of the dynamic attending theory of M. R. Jones (1976). The effect might have occurred because temporally deviant tones create cumulative onset shifts that affect all the subsequent tones. If the deviations were randomly placed, then they could follow each other in close succession and change the local tempo. In the present study, the changes of local tempo, which might have acted as a cue for the detection of temporal deviations in the random sequences, were eliminated by compensating for deviant time intervals with equal deviations in the opposite direction in the interval that followed. That change in the stimuli eliminated the negative main effect of regularity, and the accenting interacted with regularity in favor of detection in the regular sequences. However, a simple advantage of regular over random sequences was not observed. The author discusses possible reasons for the lack of a facilitatory effect of regularity.     

Influenceability of Sex Differences under Conditions of Risk Taking

In an experiment on the effect of intensity accents on the perception of time intervals between tones. H. G. Tekman (2001) found that the regular placement of deviant time intervals in short sequences of tones reduced detection, especially if intensity accents marked the deviant time intervals. That was the opposite of what one wòuld have expected on the basis of the dynamic attending theory of M. R. Jones (1976). The effect might have occurred because temporally deviant tones create cumulative onset shifts that affect all the subsequent tones. If the deviations were randomly placed, then they could follow each other in close succession and change the local tempo. In the present study, the changes of local tempo, which might have acted as a cue for the detection of temporal deviations in the random sequences, were eliminated by compensating for deviant time intervals with equal deviations in the opposite direction in the interval that followed. That change in the stimuli eliminated the negative main effect of regularity, and the accenting interacted with regularity in favor of detection in the regular sequences. However, a simple advantage of regular over random sequences was not observed. The author discusses possible reasons for the lack of a facilitatory effect of regularity.     

Development of sensorimotor synchronization abilities: Motor and cognitive components

The aim of the present study was to examine both the development of sensorimotor synchronization in children in the age range from 5 to 8 years and the involvement of motor and cognitive capacities. Children performed a spontaneous motor tempo task and a synchronization–continuation task using an external auditory stimulus presented at three different inter-stimulus intervals: 500, 700, and 900 ms. Their motor and cognitive abilities (short-term memory, working memory, and attention) were also assessed with various neuropsychological tests. The results showed some developmental changes in synchronization capacities, with the regularity of tapping and the ability to slow down the tapping rate improving with age. The age-related differences in tapping were nevertheless greater in the continuation phase than in the synchronization phase. In addition, the development of motor capacities explained the age-related changes in performance for the synchronization phase and the continuation phase, although working memory capacities were also involved in the interindividual differences in performance in the continuation phase. The continuation phase is thus more cognitively demanding than the synchronization phase. Consequently, the improvement in sensorimotor synchronization during childhood is related to motor development in the case of synchronization but also to cognitive development with regard to the reproduction and maintenance of the rhythm in memory.     

Effects of attentional set and rhythmic complexity on attending

In a target detection task involving sustained attentional monitoring, rhythmic properties of tone sequences were found to affect detection performance (area under receiver-operating characteristic curves) and reaction times. Alternating tone frequencies (high, low) formed three different recurrent rhythms (binary, trinary, mixed) which varied in complexity. Attentional set was also manipulated so that participants attended either to tones of both frequencies (divided) or to only the higher of the two tones (selective). The most interesting finding involved an interaction between attentional set and rhythm, indicating that selective attending is enhanced by the most complex (mixed) rhythm, whereas divided attending tends to be best with the simplest rhythm (binary). Results are discussed in terms of a theory of dynamic attending, in which it is assumed that listeners actively use attending oscillators to direct attending.     

Numerical predictions for serial, parallel, and coactive logical rule-based models of categorization response time

Recent theoretical advances in theories of categorization response times have made it possible to differentiate mental architectures that specify how processes occurring over several information-processing channels are combined (e.g., in serial or in parallel). This article introduces the numerical computations necessary to generate predictions for a class of logical rule-based models that have recently been used to account for speeded perceptual categorization judgments (Fifi?, M., Little, D.R. & Nosofsky, R. M. . Psychological Review, 117:309–348, 2010).     

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.     

Book Reviews

Book reviewed in this article:
B ass , B ernard M. Leadership, Psychology, and Organizational Behavior .
M ann , F loyd C., and H offman , L. R ichard . Automation and the Worker: A Study of Social Change in Power Plants .
An Action Research Program for Organization Improvement (in Esso Standard Oil Company) .
D erber , M ilton , C halmers , W. E llison , S tagner , R oss , with E delman , M ilton . The Local Union-Management Relationship .
R oss , A rthur M., and H artman , P aul T. Changing Patterns of Industrial Conflict .
G ulliksen , H arold , and M essick , S amuel (Editors) Psychological Scaling: Theory and Applications .
C ronbach , L ee J. Essentials of Psychological Testing . (Second Edition)     

Involuntary and voluntary recall of musical memories: A comparison of temporal accuracy and emotional responses

Comparisons between involuntarily and voluntarily retrieved autobiographical memories have revealed similarities in encoding and maintenance, with differences in terms of specificity and emotional responses. Our study extended this research area into the domain of musical memory, which afforded a unique opportunity to compare the same memory as accessed both involuntarily and voluntarily. Specifically, we compared instances of involuntary musical imagery (INMI, or “earworms”)—the spontaneous mental recall and repetition of a tune—to deliberate recall of the same tune as voluntary musical imagery (VMI) in terms of recall accuracy and emotional responses. Twenty participants completed two 3-day tasks. In an INMI task, participants recorded information about INMI episodes as they occurred; in a VMI task, participants were prompted via text message to deliberately imagine each tune they had previously experienced as INMI. In both tasks, tempi of the imagined tunes were recorded by tapping to the musical beat while wearing an accelerometer and additional information (e.g., tune name, emotion ratings) was logged in a diary. Overall, INMI and VMI tempo measurements for the same tune were strongly correlated. Tempo recall for tunes that have definitive, recorded versions was relatively accurate, and tunes that were retrieved deliberately (VMI) were not recalled more accurately in terms of tempo than spontaneous and involuntary instances of imagined music (INMI). Some evidence that INMI elicited stronger emotional responses than VMI was also revealed. These results demonstrate several parallels to previous literature on involuntary memories and add new insights on the phenomenology of INMI.     

Body movement enhances the extraction of temporal structures in auditory sequences

Auditory and motor systems interact in processing auditory rhythms. This study investigated the effect of intuitive body movement, such as head nodding or foot tapping, on listeners’ ability to entrain to the pulse of an auditory sequence. A pulse-finding task was employed using an isochronous sequence of tones in which tones were omitted at pseudorandom positions. Musicians and non-musicians identified their subjectively fitting pulse either using periodic body movement or through listening only. The identified pulse was measured subsequently by finger tapping. Movement appeared to assist pulse extraction especially for non-musicians. The chosen pulse tempi tended to be faster with movement. Additionally, movement led to higher synchronization stabilities of the produced pulse along the sequence, regardless of musical training. These findings demonstrated the facilitatory role of body movement in entraining to auditory rhythms and its interaction with musical training.     

Emotional response to musical repetition

Two experiments examined the effects of repetition on listeners' emotional response to music. Listeners heard recordings of orchestral music that contained a large section repeated twice. The music had a symmetric phrase structure (same-length phrases) in Experiment 1 and an asymmetric phrase structure (different-length phrases) in Experiment 2, hypothesized to alter the predictability of sensitivity to musical repetition. Continuous measures of arousal and valence were compared across music that contained identical repetition, variation (related), or contrasting (unrelated) structure. Listeners' emotional arousal ratings differed most for contrasting music, moderately for variations, and least for repeating musical segments. A computational model for the detection of repeated musical segments was applied to the listeners' emotional responses. The model detected the locations of phrase boundaries from the emotional responses better than from performed tempo or physical intensity in both experiments. These findings indicate the importance of repetition in listeners' emotional response to music and in the perceptual segmentation of musical structure.     

Expertise and attunement to kinematic constraints

Three experiments were undertaken to ascertain the extent to which expertise in natural anticipatory tasks is characterised by superior attunement to the biomechanical (kinematic) constraints of the movement pattern being observed. Twelve world-class and twelve non-expert badminton players were required to predict the depth of an opponent's stroke from either video displays or point-light displays of the opposing player's hitting action. The information available within the displays was manipulated through temporal and/or spatial occlusion. Consistent with predictions that can be derived from the constraint-attunement hypothesis (Vicente and Wang, 1998 Psychological Review 105 33-57), experts showed: (i) an unchanged pattern of information pick-up when the display was reduced from video to point-light and only kinematic information was available; (ii) superior information pick-up from kinematic features that non-experts could use; and (iii) attunement to early kinematic information from the lower body to which non-experts were not sensitive. Consistent with predictions that can be derived from a common-coding perspective (Prinz, 1997 European Journal of Cognitive Psychology 9 129-154), the anticipation of stroke depth was facilitated more for experts than non-experts when the perceptual display provided linked segment information reminiscent of the cross-segmental torque transfers that occur during expert movement production.