scholarly journals Temporal coordination in joint music performance: effects of endogenous rhythms and auditory feedback

2014 ◽  
Vol 233 (2) ◽  
pp. 607-615 ◽  
Author(s):  
Anna Zamm ◽  
Peter Q. Pfordresher ◽  
Caroline Palmer
Author(s):  
Yuzhi Wan ◽  
Julie C. Prinet ◽  
Nadine Sarter

Touchscreens are being introduced to various mobile environments that are, at times, affected by vibrations and turbulence, such as modern car cockpits or flight decks of commercial and military aircraft. To assess and enhance the usability of touchscreens in these domains, this experiment examined the performance effects of turbulence on two flight-related tasks and the effectiveness of visual and auditory feedback for supporting error detection, fast completion times and multitasking. Nineteen pilots performed a flight plan entry and a checklist task in calm and turbulent conditions during manual flight and on autopilot. Results show that unaided performance suffers greatly in turbulence, both in terms of the number of errors and completion time. However, visual and auditory feedback both helped reduce these performance costs by improving error detection and multitasking. Participants preferred auditory feedback for text entry during manual flight and in turbulence. The findings from this study can inform the design and evaluation of touch screens for mobile environments, such as the flight deck, ambulances and surveillance operations.


2019 ◽  
Vol 9 (2) ◽  
pp. 25 ◽  
Author(s):  
Brian Mathias ◽  
William Gehring ◽  
Caroline Palmer

Elements in speech and music unfold sequentially over time. To produce sentences and melodies quickly and accurately, individuals must plan upcoming sequence events, as well as monitor outcomes via auditory feedback. We investigated the neural correlates of sequential planning and monitoring processes by manipulating auditory feedback during music performance. Pianists performed isochronous melodies from memory at an initially cued rate while their electroencephalogram was recorded. Pitch feedback was occasionally altered to match either an immediately upcoming Near-Future pitch (next sequence event) or a more distant Far-Future pitch (two events ahead of the current event). Near-Future, but not Far-Future altered feedback perturbed the timing of pianists’ performances, suggesting greater interference of Near-Future sequential events with current planning processes. Near-Future feedback triggered a greater reduction in auditory sensory suppression (enhanced response) than Far-Future feedback, reflected in the P2 component elicited by the pitch event following the unexpected pitch change. Greater timing perturbations were associated with enhanced cortical sensory processing of the pitch event following the Near-Future altered feedback. Both types of feedback alterations elicited feedback-related negativity (FRN) and P3a potentials and amplified spectral power in the theta frequency range. These findings suggest similar constraints on producers’ sequential planning to those reported in speech production.


2001 ◽  
Author(s):  
Peter Q. Pfordresher ◽  
Caroline Palmer ◽  
Grant Baldwin

2011 ◽  
Vol 37 (4) ◽  
pp. 1292-1309 ◽  
Author(s):  
Janeen D. Loehr ◽  
Edward W. Large ◽  
Caroline Palmer

2019 ◽  
Vol 72 (9) ◽  
pp. 2272-2287 ◽  
Author(s):  
Caroline Palmer ◽  
Frances Spidle ◽  
Erik Koopmans ◽  
Peter Schubert

We examined the relationship between endogenous rhythms, auditory and visual cues, and body movement in the temporal coordination of duet singers. Sixteen pairs of experienced vocalists sang a familiar melody in Solo and two Duet conditions. Vocalists sang together in Unison (simultaneously producing identical pitches) and Round Duet conditions (one vocalist, the Follower, producing pitches at an eight-tone delay from their partner, the Leader) while facing Inward (full visual cues) and Outward (reduced visual cues). Larger tempo differences in partners’ spontaneous (temporally unconstrained) Solo performances were associated with larger asynchrony in Duet performances, consistent with coupling predictions for oscillators with similar natural frequencies. Vocalists were slightly but consistently more synchronous in Duets when facing their partner (Inward) than when facing Outward; Unison and Round performances were equally synchronous. The greater difficulty of Rounds production was evidenced in vocalists’ slower performance rates and more variable head movements; Followers directed their head gaze away from their partner and used bobbing head movements to mark the musical beat. The strength of Followers’ head movements corresponded to the amount of tone onset asynchrony with their partners, indicating a strong association between timing and movement under increased attentional and working memory demands in music performance.


2017 ◽  
Vol 8 ◽  
Author(s):  
Alexander P. Demos ◽  
Daniel J. Carter ◽  
Marcelo M. Wanderley ◽  
Caroline Palmer

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