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.     

Infants use meter to categorize rhythms and melodies: implications for musical structure learning

Little is known about whether infants perceive meter, the underlying temporal structure of music. We employed a habituation paradigm to examine whether 7-month-old infants could categorize rhythmic and melodic patterns on the basis of the underlying meter, which was implied from event and accent frequency of occurrence. In Experiment 1, infants discriminated duple and triple classes of rhythm on the basis of implied meter. Experiment 2 replicated this result while controlling for rhythmic grouping structure, confirming that infants perceived metrical structure despite occasional ambiguities and conflicting group structure. In Experiment 3, infants categorized melodies on the basis of contingencies between metrical position and pitch. Infants presented with metrical melodies detected reversals of pitch/meter contingencies, while infants presented with non-metrical melodies showed no preference. Results indicate that infants can infer meter from rhythmic patterns, and that they may use this metrical structure to bootstrap their knowledge acquisition in music learning.     

Infants’ perception of musical patterns

This paper examines infants’ ability to perceive various aspects of musical material that are significant in music in general and in Western European music in particular: contour, intervals, exact pitches, diatonic structure, and rhythm. For the most part, infants focus on relational aspects of melodies, synthesizing global representations from local details. They encode the contour of a melody across variations in exact pitches and intervals. They extract information about pitch direction from the smallest musically relevant pitch change in Western music, the semitone. Under certain conditions, infants detect interval changes in the context of transposed sequences, their performance showing enhancement for sequences that conform to Western musical structure. Infants have difficulty retaining exact pitches except for sets of pitches that embody important musical relations. In the temporal domain, they group the elements of auditory sequences on the basis of similarity and they extract the temporal structure of a melody across variations in tempo.     

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.     

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.     

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.     

Pattern specificity in the effect of prior Δƒ on auditory stream segregation

During repeating sequences of low (A) and high (B) tones, perception of two separate streams ("streaming") increases with greater frequency separation (Δ?) between the A and B tones; in contrast, a prior context with large Δ? results in less streaming during a subsequent test pattern. The purpose of the present study was to investigate what aspects of the context pattern are necessary for this context effect to occur. Simply changing the B-tone frequency without an alternating A tone present was not sufficient to cause the effect of prior Δ?, but rather a melodic change between A and B tones was necessary. We further investigated the extent to which the context and test patterns needed to have similar rhythms (xxx-xxx-) and melodies (up-down-flat-up-down), and found that a maximal prior-Δ? effect occurred when the rhythmic patterns of the context and test were similar, regardless of the melodic structure. Thus, the effect of prior Δ? on streaming depended on the presence of (1) at least one melodic change in the context, and (2) similar rhythmic patterns in the context and test.     

Infants’ auditory enumeration: Evidence for analog magnitudes in the small number range

Vigorous debate surrounds the issue of whether infants use different representational mechanisms to discriminate small and large numbers. We report evidence for ratio-dependent performance in infants’ discrimination of small numbers of auditory events, suggesting that infants can use analog magnitudes to represent small values, at least in the auditory domain. Seven-month-old infants in the present study reliably discriminated two from four tones (a 1:2 ratio) in Experiment 1, when melodic and continuous temporal properties of the sequences were controlled, but failed to discriminate two from three tones (a 2:3 ratio) under the same conditions in Experiment 2. A third experiment ruled out the possibility that infants in Experiment 1 were responding to greater melodic variety in the four-tone sequences. The discrimination function obtained here is the same as that found for infants’ discrimination of large numbers of visual and auditory items at a similar age, as well as for that obtained for similar-aged infants’ duration discriminations, and thus adds to a growing body of evidence suggesting that human infants may share with adults and nonhuman animals a mechanism for representing quantities as “noisy” mental magnitudes.     

Tempo sensitivity in isochronous tone sequences: the multiple-look model revisited

Factors affecting tempo sensitivity in isochronous tone sequences were investigated in two experiments. Participants listened to tones in sequence conditions in which the number of time intervals in isochronous standard and comparison sequences was varied, and they were asked to judge the tempo of the comparison relative to the standard. When the duration of the standard interval was held constant, tempo sensitivity was affected by the number of comparison intervals, but not by the number of standard intervals. In contrast, when the duration of the standard interval was varied randomly from trial to trial, tempo sensitivity was affected by the number of intervals in both sequences. The present findings are discussed in the context of a generalized multiple-look model that posits independent contributions of both sequences to tempo sensitivity. Quantitative model fits suggest that the relative contribution of the number of the standard intervals to tempo thresholds depends on (1) the availability of a stable long-term referent for the standard tempo and (2) a priori knowledge about the number of standard intervals.     

Infants' perception of timbre: classification of complex tones by spectral structure

Infants 7 to 8.5 months of age were tested for their discrimination of timbre or sound quality differences in the context of variable exemplars. They were familiarized with a set of complex tones with specified spectral structure; members of the set varied in fundamental frequency, intensity, or duration. Infants were then tested for their detection of tones that contrasted in spectral structure but were similar in other respects. They successfully differentiated the two spectral structures in the context of these variations, indicating that they can classify tonal stimuli on the basis of timbre. When the stimuli were organized into arbitrary categories, infants were unable to differentiate these categories, indicating that their performance with nonarbitrary categories was not attributable to memorization of the familiarized set.     

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 an auditory distractor sequence affect self-paced tapping?

This study investigated whether an auditory distractor (D) sequence affects the timing of self-paced finger tapping. To begin with, Experiment 1 replicated earlier findings by showing that, when taps are synchronized with an isochronous auditory target (T) sequence, an isochronous D sequence of different tempo and pitch systematically modulates the tap timing. The extent of the modulation depended on the relative intensity of the T and D tones, but not on their pitch distance. Experiment 2 then used a synchronization-continuation paradigm in which D sequences of different tempi were introduced only during continuation tapping. Although the D sequences rarely captured the taps completely, they did increase the tapping variability and deviations from the correct tempo. Furthermore, they eliminated the negative correlation between successive inter-tap intervals and led to intermittent phase locking when the tapping period was close to the period of the D sequence. These distractor effects occurred regardless of whether or not the taps generated auditory feedback tones. The distractor effects thus depend neither on the intention to synchronize with a T sequence nor on the simultaneous perception of two auditory sequences. Rather, they seem to reflect a basic attraction of rhythmic movement to auditory rhythms.     

Temporal coordination and adaptation to rate change in music performance

People often coordinate their actions with sequences that exhibit temporal variability and unfold at multiple periodicities. We compared oscillator- and timekeeper-based accounts of temporal coordination by examining musicians' coordination of rhythmic musical sequences with a metronome that gradually changed rate at the end of a musical phrase (Experiment 1) or at the beginning of a phrase (Experiment 2). The rhythms contained events that occurred at the same periodic rate as the metronome and at half the period. Rate change consisted of a linear increase or decrease in intervals between metronome onsets. Musicians coordinated their performances better with a metronome that decreased than increased in tempo (as predicted by an oscillator model), at both beginnings and ends of musical phrases. Model performance was tested with an oscillator period or timekeeper interval set to the same period as the metronome (1:1 coordination) or half the metronome period (2:1 coordination). Only the oscillator model was able to predict musicians' coordination at both periods. These findings suggest that coordination is based on internal neural oscillations that entrain to external sequences.     

Joint drumming: social context facilitates synchronization in preschool children

The human capacity to synchronize body movements to an external acoustic beat enables uniquely human behaviors such as music making and dancing. By hypothesis, these first evolved in human cultures as fundamentally social activities. We therefore hypothesized that children would spontaneously synchronize their body movements to an external beat at earlier ages and with higher accuracy if the stimulus was presented in a social context. A total of 36 children in three age groups (2.5, 3.5, and 4.5 years) were invited to drum along with either a human partner, a drumming machine, or a drum sound coming from a speaker. When drumming with a social partner, children as young as 2.5 years adjusted their drumming tempo to a beat outside the range of their spontaneous motor tempo. Moreover, children of all ages synchronized their drumming with higher accuracy in the social condition. We argue that drumming together with a social partner creates a shared representation of the joint action task and/or elicits a specific human motivation to synchronize movements during joint rhythmic activity.     

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.     

Individuation of pairs of objects in infancy

Looking-time studies examined whether 11-month-old infants can individuate two pairs of objects using only shape information. In order to test individuation, the object pairs were presented sequentially. Infants were familiarized either with the sequential pairs, disk-triangle/disk-triangle (XY/XY), whose shapes differed within but not across pairs, or with the sequential pairs, disk-disk/triangle-triangle (XX/YY), whose shapes differed across but not within pairs. The XY/XY presentation looked to adults like a single pair of objects presented repeatedly, whereas the XX/YY presentation looked like different pairs of objects. Following familiarization to these displays, infants were given a series of test trials in which the screen was removed, revealing two pairs of objects in one of two outcomes, XYXY or XXYY. On the first test trial, infants familiarized with the identical pairs (XY/XY) apparently expected a single pair to be revealed because they looked longer than infants familiarized with the distinct pairs (XX/YY). Infants who had seen the distinct pairs apparently expected a double pair outcome. A second experiment showed outcomes of a single XY pair. This outcome is unexpected for XX/YY-familiarized infants but expected for XY/XY-familiarized infants, the reverse of Experiment 1. This time looking times were longer for XX/YY infants. Eleven-month-olds appear to be able to represent not just individual objects but also pairs of objects. These results suggest that if they can group the objects into sets, infants may be able to track more objects than their numerosity limit or available working memory slots would normally allow. We suggest possible small exact numerosity representations that would allow tracking of such sets.     

Controlled attending as a function of melodic and temporal context

Melodic and rhythmic context were systematically varied in a pattern recognition task involving pairs (standard-comparison) of nine-tone auditory sequences. The experiment was designed to test the hypothesis that rhythmic context can direct attention toward or away from tones which instantiate higher order melodic rules. Three levels of melodic structure (one, two, no higher order rules) were crossed with four levels of rhythm [isochronous, dactyl (A U U), anapest (U U A), irregular]. Rhythms were designed to shift accent locations on three centrally embedded tones. Listeners were more accurate in detecting violations of higher order melodic rules when the rhythmic context induced accents on tones which instantiated these rules. Effects are discussed in terms of attentional rhythmicity.     

Learning and discrimination of audiovisual events in human infants: the hierarchical relation between intersensory temporal synchrony and rhythmic pattern cues

This study examined 4- to 10-month-old infants' perception of audio-visual (A-V) temporal synchrony cues in the presence or absence of rhythmic pattern cues. Experiment 1 established that infants of all ages could successfully discriminate between two different audiovisual rhythmic events. Experiment 2 showed that only 10-month-old infants detected a desynchronization of the auditory and visual components of a rhythmical event. Experiment 3 showed that 4- to 8-month-old infants could detect A-V desynchronization but only when the audiovisual event was nonrhythmic. These results show that initially in development infants attend to the overall temporal structure of rhythmic audiovisual events but that later in development they become capable of perceiving the embedded intersensory temporal synchrony relations as well.     

Perception of rhythmic grouping: testing the iambic/trochaic law

This study was designed to test the iambic/trochaic law, which claims that elements contrasting in duration naturally form rhythmic groupings with final prominence, whereas elements contrasting in intensity form groupings with initial prominence. It was also designed to evaluate whether the iambic/trochaic law describes general auditory biases, or whether rhythmic grouping is speech or language specific. In two experiments, listeners were presented with sequences of alternating /ga/ syllables or square wave segments that varied in either duration or intensity and were asked to indicate whether they heard a trochaic (i.e., strong-weak) or an iambic (i.e., weak-strong) rhythmic pattern. Experiment 1 provided a validation of the iambic/trochaic law in English-speaking listeners; for both speech and nonspeech stimuli, variations in duration resulted in iambic grouping, whereas variations in intensity resulted in trochaic grouping. In Experiment 2, no significant differences were found between the rhythmic-grouping performances of English- and French-speaking listeners. The speech/ nonspeech and cross-language parallels suggest that the perception of linguistic rhythm relies largely on general auditory mechanisms. The applicability of the iambic/trochaic law to speech segmentation is discussed.     

Examining auditory kappa effects through manipulating intensity differences between sequential tones

The auditory kappa effect is a tendency to base the perceived duration of an inter-onset interval (IOI) separating two sequentially presented sounds on the degree of relative pitch distance separating them. Previous research has found that the degree of frequency discrepancy between tones extends the subjective duration of the IOI. In Experiment 1, auditory kappa effects for sound intensity were tested using a three-tone, AXB paradigm (where the intensity of tone X was shifted to be closer to either Tone A or B). Tones closer in intensity level were perceived as occurring closer in time, evidence of an auditory-intensity kappa effect. In Experiments 2 and 3, the auditory motion hypothesis was tested by preceding AXB patterns with null intensity and coherent intensity context sequences, respectively. The auditory motion hypothesis predicts that coherent sequences should enhance the perception of motion and increase the strength of kappa effects. In this study, the presence of context sequences reduced kappa effect strength regardless of the properties of the context tones.