Rate Limits in Sensorimotor Synchronization With Auditory and Visual Sequences: The Synchronization Threshold and the Benefits and Costs of Interval Subdivision

Synchronization of finger taps with an isochronous event sequence becomes difficult when the event rate exceeds a certain limit. In Experiment 1, the synchronization threshold was reached at interonset intervals (IOIs) above 100 ms with auditory tone sequences (in a 1:4 tapping task) but at IOIs above 400 ms with visual flash sequences (1:1 tapping). Using IOIs above those limits, the author investigated in Experiment 2 the reduction in the variability of asynchronies that tends to occur when the intervals between target events are subdivided by additional identical events (1:1 vs 1:n tapping). The subdivision benefit was found to decrease with IOI duration and to turn into a cost at IOIs of 200–250 ms in auditory sequences and at IOIs of 450–500 ms in visual sequences. The auditory results are relevant to the limits of metrical subdivision and beat rate in music. The visual results demonstrate the remarkably weak rhythmicity of (nonmoving) visual stimuli.     

On the nature of phase attraction in sensorimotor synchronization with interleaved auditory sequences

In a task that requires in-phase synchronization of finger taps with an isochronous sequence of target tones that is interleaved with a sequence of distractor tones at various fixed phase relationships, the taps tend to be attracted to the distractor tones, especially when the distractor tones closely precede the target tones [Repp, B. H. (2003a). Phase attraction in sensorimotor synchronization with auditory sequences: Effects of single and periodic distractors on synchronization accuracy. Journal of Experimental Psychology: Human Perception and Performance, 29, 290-309]. The present research addressed two related questions about this distractor effect: (1) Is it a function of the absolute temporal separation or of the relative phase of the two stimulus sequences? (2) Is it the result of perceptual grouping (integration) of target and distractor tones or of simultaneous attraction to two independent sequences? In three experiments, distractor effects were compared across two different sequence rates. The results suggest that absolute temporal separation, not relative phase, is the critical variable. Experiment 3 also included an anti-phase tapping task that addressed the second question directly. The results suggest that the attraction of taps to distractor tones is caused mainly by temporal integration of target and distractor tones within a fixed window of 100-150 ms duration, with the earlier-occurring tone being weighted more strongly than the later-occurring one.     

Staying offbeat: Sensorimotor syncopation with structured and unstructured auditory sequences

Three experiments investigated whether adding metric (higher-order, periodic) structure to tone sequences stabilizes syncopated finger tapping. Participants tapped in antiphase with metronomic tone sequences in which accents—produced by sounding two tones simultaneously—occurred regularly every two, three, or four tones (metric), occurred unpredictably (irregular), occurred on every tone (heavy beat), or were absent (light beat). Tap timing variability, although commensurate with metric and light beat sequences, was lower with metric than with heavy beat and irregular sequences even when the instructions specified using metric grouping in all conditions. Higher-order periodic fluctuations (delays) in tap timing—found only in metric conditions—were associated with low overall tap timing variability, suggesting that a regularly applied, meter-based phase-resetting mechanism stabilizes syncopation.

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MAINTENANCE OF THERAPEUTIC CHANGE BY MOMENTARY DRO

Differential reinforcement of other behavior (DRO) involves delivery of reinforcement at the end of an interval during which the target behavior has not occurred. Momentary DRO, however, is a procedure in which reinforcement is delivered if a response did not occur at the end of an interval. We examined the extent to which momentary DRO maintained suppression, following initial treatment with whole-interval DRO, of nine retarded students' maladaptive behavior. Results indicate that momentary DRO maintained response suppression comparable to that obtained by whole-interval DRO.     

Effects of preceding context on discrimination of voice onset times

When discriminating pairs of speech stimuli from an acoustic voice onset time (VOT) continuum (for example, one ranging from /ba/ to /pa/), English-speaking subjects show a characteristic performance peak in the region of the phonemic category boundary. We demonstrate that this "category boundary effect" is reduced or eliminated when the stimuli are preceded by /s/. This suppression does not seem to be due to the absence of a phonological voicing contrast for stop consonants following /s/, since it is also obtained when the /s/ terminates a preceding word and (to a lesser extent) when broadband noise is substituted for the fricative noise. The suppression is stronger, however, when the noise has the acoustic properties of a syllable-initial /s/, all else being equal. We hypothesize that these properties make the noise cohere with the following speech signal, which makes it difficult for listeners to focus on the VOT differences to be discriminated.     

BEHAVIORAL ASSESSMENT OF FEEDING PROBLEMS OF INDIVIDUALS WITH SEVERE DISABILITIES

As many as 80% of the individuals with severe or profound mental retardation exhibit feeding problems. Although behavioral interventions have been used to treat these problems, no assessment procedure for determining a functional relationship between a person's acceptance of food and the type and texture of that food has been reported. The purpose of this study was to test a behavioral assessment procedure for a feeding problem of limited intake. Five individuals with severe or profound mental retardation were fed 10 to 12 types of foods with one or more textures. Behavioral categories of acceptance, rejection, expulsion, and other negative behavior were recorded. Results indicated that each subject fit into one of four categories of feeding problems: (a) total refusal, (b) type selectivity, (c) texture selectivity, or (d) type and texture selectivity. Thus, although all 5 subjects exhibited limited intake, the food characteristics correlated with the problem were different for each individual. Results suggest that treatments for limited intake may be based on assessments that show the association of food type or texture to a person's rejection or expulsion of food.     

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.     

The effect of tempo on pedal timing in piano performance

The temporal coordination of hand and foot actions in piano performance is an interesting instance of highly practiced, perceptually guided complex motor behavior. To gain some insight into the nature of this coordination, ten pianists were asked to play two excerpts from the piano literature that required repeated use of the damper pedal to connect successive chords. Each excerpt was played at three prescribed tempos on a Yamaha Disklavier and was recorded in MIDI format. The question of interest was whether and how changes in tempo would affect the timing of pedal releases and depressions within the periods defined by successive manual chord onsets. Theoretical possibilities ranged from absolute invariance (variable phase relationships) to relative invariance of pedal timing (constant phase relationships). The results show that, typically, the timing of pedal actions is neither absolutely nor relatively invariant: As the tempo increases, both pedal releases and depressions usually occur a little sooner and pedal changes (release-depression sequences) are executed a little more quickly, but these effects are proportionally smaller than the changes in manual (and pedal) period duration. Since this may be due to unequal changes in peripheral hand and foot kinematics with tempo, it remains possible that there is invariance of either kind at the level of central motor commands. However, it is the peripheral timing that produces the acoustic consequences musicians try to achieve.     

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).