Perception–production relationships and phase correction in synchronization with two-interval rhythms

Two experiments investigated the effects of interval duration ratio on perception of local timing perturbations, accuracy of rhythm production, and phase correction in musicians listening to or tapping in synchrony with cyclically repeated auditory two-interval rhythms. Ratios ranged from simple (1:2) to complex (7:11, 5:13), and from small (5:13 = 0.38) to large (6:7 = 0.86). Rhythm production and perception exhibited similar ratio-dependent biases: rhythms with small ratios were produced with increased ratios, and timing perturbations in these rhythms tended to be harder to detect when they locally increased the ratio than when they reduced it. The opposite held for rhythms with large ratios. This demonstrates a close relation between rhythm perception and production. Unexpectedly, however, the neutral “attractor” was not the simplest ratio (1:2 = 0.50) but a complex ratio near 4:7 (= 0.57). Phase correction in response to perturbations was generally rapid and did not show the ratio-dependent biases observed in rhythm perception and production. Thus, phase correction operates efficiently and autonomously even in synchronization with rhythms exhibiting complex interval ratios.     

Effects of fundamental frequency contrast on discrimination and identification of dichotic CV syllables at various temporal delays

Dichotic CV syllables (identical and nonidentical pairs) were presented at nine temporal offsets between 0 and 500 msec. One task consisted in judging quickly whether the syllables in a pair were phonetically the same or different; the other task was to identify both syllables. The fundamental frequency (pitch) of the synthetic stimuli was either the same or different, and either predictable or unpredictable. The pitch variable had surprisingly little effect on the latencies of "same"-"different" judgments, and the expected "preparation" effect of pitch predictability was ba]rely present. Instead, there were strong effects on the frequencies of errors at short temporal delays, which suggests shifts or biases in the phonetic "same"-"different" criterion with context. A comparison with analogous errors in the identification task revealed identical patterns. Further analysis of identification errors showed no overall "feature sharing advantage": The direction of this effect depends on the kind of error committed. Also, a lag effect was found only in nonidentical pairs that received two identical responses. The results are discussed in the framework of a two-stage information-processing model. Effects of pitch are tentatively explained as biases from implicit (pitch) decisions at the auditory level on phonetic decisions in the presence of uncertainty. Four sources of errors are identified: fusion at the auditory level; "integration," confusions, and transpositions at the phonetic level.     

DIFFERENTIALLY REINFORCING LOW RATES OF MISBEHAVIOR WITH NORMAL ELEMENTARY SCHOOL CHILDREN1

Effective nonpunitive procedures for reducing counterproductive classroom behaviors are of potential benefit to both students and teachers. A recent strategy for dealing with this class of problem behaviors involves the reinforcement of acceptably low levels of such behavior. The laboratory version of this procedure, called differential reinforcement of low rates of responding (or DRL), provides for a reinforcer to be delivered contingent upon a response that is separated from the last preceding response by a minimum amount of time. To make this procedure more amenable to classroom use, the present authors have modified it so that a reinforcer is delivered if fewer than a specified number of responses occur within a preset time interval (Deitz and Repp, Journal of Applied Behavior Analysis, 1973, 6 , 457–463). Previous studies using this procedure have found it effective in reducing and maintaining low rates of targeted behaviors. However, these effects have been demonstrated with groups of subjects and/or individuals from dependent populations. The present study investigated use of this modified DRL procedure with individual students in normal elementary classrooms. In the first of three studies, “talk-outs” of an 11-yr-old fifth-grade male were reduced when nonexchangeable gold stars were made contingent on two or fewer responses per session. During baseline sessions, an average of 4.45 talkouts were observed per 45-min session. Average responding subsequently fell to 1.83 when the modified DRL contingency was applied, increased to 7.60 during a reversal phase, and dropped again to an average of 1.20 when the contingency was reapplied. In the second study, out-of-seat behavior of a 12-yr-old sixth-grade female was reduced when gold stars were made contingent on two or fewer responses per 45-min class period. Baseline responding averaged 6.10 responses per session. When the contingency was applied, average responding fell to 0.16. During the reversal period, responding increased to an average of 6.00 and fell again, after the contingency was re-introduced to an average of 0.40. In the third study, a reduction in both talking-out and out-of-seat behaviors of another 11-yr-old fifth-grade male was demonstrated with a multiple-baseline design. Using different lengths of baselines, gold stars were made contingent first on a low rate of out-of-seat behavior, and then on a low rate of talk-outs. Out-of-seat responding fell from a baseline average of 7.50 to a treatment average of 1.14. Talk-outs went from a baseline average of 4.66 to a treatment average of 1.14. In all three studies, the modified DRL procedure proved effective with the children and was manageable by the classroom teacher. For the students, nonexchangeable conditioned reinforcers (stars) were sufficient to maintain lowered rates of inappropriate behavior with the modified DRL schedule; there was no need for an elaborate token economy, a process that in many cases may be only a form of behavioral “overkill”. As in other studies investigating DRL schedules, students were not informed of their accumulation of responses; the differential effects of providing or withholding this feedback need to be investigated. Overall, these studies add single-subject replication with normal children to the literature on modified DRL procedures.     

Two strategies in fricative discrimination

Synthetic noises from a [∫]-[s] continuum, followed by vocalic portions that influenced the location of the [∫]-[s] boundary in an identification test, were presented in AXB and fixed-standard AX discrimination tasks. The majority of naive subjects perceived these fricative-vowel syllables fairly categorically in both tasks; that is, discrimination functions followed the patterns predicted from identification scores and showed shifts contingent on the nature of the vocalic portion. However, two subjects achieved much better discrimination scores than the rest, and so did three experienced listeners and a group of less experienced subjects who had received some discrimination training in the AX task. These listeners, who (judging from their higher accuracy, pattern of responses, and subjective reports) successfully followed the nonphonetic strategy of restricting attention to the spectral properties of the fricative noise, were not influenced by different vocalic contexts. These results support the hypothesis that influences of vocalic context on fricative identification are tied to a phonetic mode of perception.     

Relational invariance of expressive microstructure across global tempo changes in music performance: An exploratory study

Summary This study addressed the question of whether the expressive microstructure of a music performance remains relationally invariant across moderate (musically acceptable) changes in tempo. Two pianists played Schumann's Träumerei three times at each of three tempi on a digital piano, and the performance data were recorded in MIDI format. In a perceptual test, musically trained listeners attempted to distinguish the original performances from performances that had been artificially speeded up or slowed down to the same overall duration. Accuracy in this task was barely above chance, suggesting that relational invariance was largely preserved. Subsequent analysis of the MIDI data confirmed that each pianist's characteristic timing patterns were highly similar across the three tempi, although there were statistically significant deviations from perfect relational invariance. The timing of (relatively slow) grace notes seemed relationally invariant, but selective examination of other detailed temporal features (chord asynchrony, tone overlap, pedal timing) revealed no systematic scaling with tempo. Finally, although the intensity profile seemed unaffected by tempo, a slight overall increase in intensity with tempo was observed. Effects of musical structure on expressive microstructure were large and pervasive at all levels, as were individual differences between the two pianists. For the specific composition and range of tempi considered here, these results suggest that major (cognitively controlled) temporal and dynamic features of a performance change roughly in proportion with tempo, whereas minor features tend to be governed by tempo-independent motoric constraints.     

COMMENTS ON FUNCTIONAL ANALYSIS PROCEDURES FOR SCHOOL-BASED BEHAVIOR PROBLEMS

Functional analysis procedures were developed in the 1980s in an effort to determine whether clinicians could identify the function of behavior problems like self-injury and aggression. More recently, several groups of researchers have been attempting to extend that procedure to classroom environments. The following commentary reflects my viewpoint of this transition.     

Effects of preceding context on the voice-onset-time category boundary

The category boundary on a voice-onset-time (VOT) continuum ranging from bin to pin shifts when the stimuli are preceded by different carrier phrases. By using a variety of precursor phrases, by varying the temporal interval between precursor and test word, and by selectively eliminating either voicing information or spectral structure from the precursors, the present experiments show that the context effect is caused by the presence or absence of voicing in the precursor's final segment. The effect decreases with temporal separation but persists over several seconds. In addition, the "baseline" VOT boundary for isolated test words interspersed in a test sequence shifts depending on what precursor stimuli occur in the same sequence. The perception of VOT thus seems to be sensitive to both close and distant manifestations of laryngeal activity, always in an assimilative fashion, which suggests an integrative perceptual mechanism with a long time constant.     

Control of Expressive and Metronomic Timing in Pianists

In 12 tasks, each including 10 repetitions, 6 skilled pianists performed or responded to a musical excerpt. In the first 6 tasks, expressive timing was required; in the last 6 tasks, metronomic timing. The pianists first played the music on a digital piano (Tasks 1 and 7), then played it without auditory feedback (Tasks 2 and 8), then tapped on a response key in synchrony with one of their own performances (Tasks 3 and 9), with an imagined performance (Tasks 4 and 10), with a computer-generated performance (Tasks 5 and 11), and with a computer-generated sequence of clicks (Tasks 6 and 12). The results demonstrated that pianists are capable of generating the expressive timing pattern of their performance in the absence of auditory and kinaesthetic (piano keyboard) feedback. They can also synchronize their finger taps quite well with expressively timed music or clicks (while imagining the music), although they tend to underestimate long interonset intervals and to compensate on the following tap. Expressive timing is thus shown to be generated from an internal representation of the music. In metronomic performance, residual expressive timing effects were evident. Those did not depend on auditory feedback, but they were much reduced or absent when kinaesthetic feedback from the piano keyboard was eliminated. Thus, they seemed to arise from the pianist's physical interaction with the instrument. Systematic timing patterns related to expressive timing were also observed in synchronization with a metronomic computer performance and even in synchronization with metronomic clicks. These results shed light on intentional and unintentional, structurally governed processes of timing control in music performance.