scholarly journals Vocal learning and flexible rhythm pattern perception are linked: Evidence from songbirds

2021 ◽  
Vol 118 (29) ◽  
pp. e2026130118
Author(s):  
Andrew A. Rouse ◽  
Aniruddh D. Patel ◽  
Mimi H. Kao
Keyword(s):  
Vocal Learning ◽  
Pattern Perception ◽  
Rhythmic Pattern ◽  
Rhythm Perception ◽  
Time Intervals ◽  
Motor Pathways ◽  
Multiple Stimulus ◽  
Rhythm Pattern ◽  
Key Aspects ◽  
Linked Evidence

Rhythm perception is fundamental to speech and music. Humans readily recognize a rhythmic pattern, such as that of a familiar song, independently of the tempo at which it occurs. This shows that our perception of auditory rhythms is flexible, relying on global relational patterns more than on the absolute durations of specific time intervals. Given that auditory rhythm perception in humans engages a complex auditory–motor cortical network even in the absence of movement and that the evolution of vocal learning is accompanied by strengthening of forebrain auditory–motor pathways, we hypothesize that vocal learning species share our perceptual facility for relational rhythm processing. We test this by asking whether the best-studied animal model for vocal learning, the zebra finch, can recognize a fundamental rhythmic pattern—equal timing between event onsets (isochrony)—based on temporal relations between intervals rather than on absolute durations. Prior work suggests that vocal nonlearners (pigeons and rats) are quite limited in this regard and are biased to attend to absolute durations when listening to rhythmic sequences. In contrast, using naturalistic sounds at multiple stimulus rates, we show that male zebra finches robustly recognize isochrony independent of absolute time intervals, even at rates distant from those used in training. Our findings highlight the importance of comparative studies of rhythmic processing and suggest that vocal learning species are promising animal models for key aspects of human rhythm perception. Such models are needed to understand the neural mechanisms behind the positive effect of rhythm on certain speech and movement disorders.

scholarly journals Time-Shrinking and Categorical Temporal Ratio Perception

2006 ◽  
Vol 24 (1) ◽  
pp. 1-22 ◽  
Author(s):  
Gert Ten Hoopen ◽  
Takayuki Sasaki ◽  
Yoshitaka Nakajima ◽  
Ger Remijn ◽  
Bob Massier ◽  
...  
Keyword(s):  
Cluster Analysis ◽  
Categorical Perception ◽  
Scaling Analysis ◽  
Rhythm Perception ◽  
Time Intervals ◽  
Temporal Dimension ◽  
Matching Procedure ◽  
T1 And T2 ◽  
Fourth Experiment ◽  
Empty Time

In a previous study, we presented psychophysical evidence that time-shrinking (TS), an illusion of time perception that empty durations preceded by shorter ones can be conspicuously underestimated, gives rise to categorical perception on the temporal dimension (Sasaki, Nakajima, & ten Hoopen, 1998). In the present study, we first survey studies of categorical rhythm perception and then describe four experiments that provide further evidence that TS causes categorical perception on the temporal dimension. In the first experiment, participants judged the similarity between pairs of /t1/t2/ patterns (slashes denote short sound markers delimiting the empty time intervals t1 and t2). A cluster analysis and a scaling analysis showed that patterns liable to TS piled up in a 1:1 category. The second and third experiments are improved replications in which the sum of t1 and t2 in the /t1/t2/ patterns is kept constant at 320 ms. The results showed that the 12 patterns /115/205/, /120/200/,  . . ., /165/155/, /170/150/ formed a 1:1 category. The fourth experiment utilizes a cross-modality matching procedure to establish the subjective temporal ratio of the /t1/t2/ patterns and a 1:1 category was established containing the 11 patterns /120/200/, /125/195/,  . . ., /165/155/, /170/150/. On basis of these converging results we estimate a domain of perceived 1:1 ratios as a function of total pattern duration (t1 + t2) between 160 and 480 ms. We discuss the implications of this study for rhythm perception and production.

scholarly journals Pelatihan Pola Ritme Sebagai Strategi Peningkatan Kualitas Pembalajaran Mata Kuliah Instrumen Gitar di Jurusan Musik FSP ISI Yogyakarta

PROMUSIKA ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 20-28
Author(s):  
Kustap Kustap ◽  
Ikhsan Lubis
Keyword(s):  
Data Analysis ◽  
Qualitative Method ◽  
Class Action ◽  
Material Objects ◽  
Rhythmic Pattern ◽  
Training Process ◽  
Interactive Model ◽  
Analysis Process ◽  
Research Material ◽  
Rhythm Pattern

Pola ritme merupakan elemen musik utama yang berkaitan langsung dengan gerakan waktu dalam musik, di mana waktu selalu bergerak dan mengatur kestabilan rasa musikal. Pola ritme sangat mentukan ketepatan hitungan dalam permainan gitar tunggal, dan bermain anasambel gitar. Pola ritme merukan objek material penelitian sedangkan proses pelatihan pola rime dalam pembelajaran mata kuliah instrumen gitar merupakan objek formal. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dan tindakan kelas dengan teknik pengupulan data triangulasi, sedangkan proses analisis data menggunakan model interaktif. Hasil yang diperoleh dari penelitian ini adalah strategi latihan pola ritme yang disesuaikan dengan tanda sukat yang ada pada materi yang berupa lagu yang akan dilatih dengan instrumen gitar. moving and regulating musical stability. Rhythm patterns really determine the accuracy of counts in a single guitar game, and play guitar ensembles. Rhythm patterns are research material objects while the rime training process in learning guitar instrument subjects is a formal object. The method used in this study is a qualitative method and class action with the technique of collecting triangulation data, while the data analysis process uses an interactive model. The results obtained from this study are the rhythmic pattern training strategies that are tailored to the signs of sukat that are in the material in the form of songs that will be trained with guitar instruments.Keywords: Rhythm pattern; training; learning; guitar

The Central Nervous Control of Complex Movements in the Uropods of Crayfish

1969 ◽  
Vol 51 (1) ◽  
pp. 135-150
Author(s):  
J. L. LARIMER ◽  
D. KENNEDY
Keyword(s):  
Central Element ◽  
Simultaneous Recording ◽  
Motor Output ◽  
Afferent Feedback ◽  
Rhythmic Pattern ◽  
Nervous Control ◽  
Motor Pathways ◽  
Combined Movements ◽  
Motor Neurones ◽  
Two Sides

1. The control of postural uropod muscles in the crayfish has been investigated by stimulating ‘command’ interneurones isolated from central connectives. Reciprocity is preserved between exciters and inhibitors innervating the same muscle, and between motor axons serving antagonists. 2. The control of combined movements, involving groups of muscles that are neither synergists nor antagonists, was analysed by simultaneous recording. Most command fibres affected several different motor pathways, and different command fibres produced different combinations of output. It is concluded that quite complex movements may be encoded in the connexions of a single central element. 3. In several instances it was shown unequivocally that single central neurones were responsible for releasing the motor output. One identified command neurone produces a stereotyped, rhythmic pattern of activity in several motor pathways. This effect did not depend upon afferent feedback for its form or frequency. 4. Command interneurones often produce asymmetrical responses in the appendages of the two sides. Some of these make connexions only to the ipsilateral motor neurones, others only to contralateral ones, and most make differential connexions on the two sides.

Auditory Isochrony: Time Shrinking and Temporal Patterns

Perception ◽  
1995 ◽  
Vol 24 (5) ◽  
pp. 577-593 ◽  
Author(s):  
Gert ten Hoopen ◽  
Rob Hartsuiker ◽  
Takayuki Sasaki ◽  
Yoshitaka Nakajima ◽  
Masako Tanaka ◽  
...  
Keyword(s):  
Temporal Patterns ◽  
Adaptive Method ◽  
Difference Limen ◽  
Rhythm Perception ◽  
Time Intervals ◽  
The Third ◽  
Base Interval ◽  
The Difference ◽  
Short Time ◽  
Paradoxical Results

It has previously been reported that the duration of short time intervals is conspicuously underestimated if they are preceded by shorter neighbouring time intervals. This illusion was called ‘time shrinking’ and it was argued that it strongly affects the perception of auditory rhythms. In the present study this supposition has been pursued in three experiments. In the first, temporal patterns consisting of two, three, and four intervals had to be judged for anisochrony, which was invoked by offsetting the last sound from its isochronous position. By a constant method, it was determined that the last sound of fast sequences (50 ms base interval) had to be delayed by about 30 ms in order for isochronous rhythms to be perceived. Another interesting finding was that for sound sequences with base intervals up to 200 ms it was the difference limen, rather than Weber's ratio, that was constant for anisochrony detection. In the second experiment, the temporal patterns comprised two intervals, presented serially or separately. The deviation of isochrony could be on either the first or the second interval. The data, gathered by an adaptive method, showed time shrinking to be effective even up to a base interval of 200 ms. The third experiment involved a constant method and anisochrony was implemented on the first interval of two interval patterns. Time shrinking affected perceived isochrony in sequences with base intervals of 50, 100, and 200 ms. It is argued that the paradoxical results of anisochrony detection can be explained in terms of time shrinking. Some anomalies of rhythm perception and production that are the result of time shrinking are discussed. Finally, a tentative setup for a model of anisochrony detection that defies Weber's law is offered.

Limits of rhythm perception

2002 ◽  
Vol 55 (2) ◽  
pp. 643-657 ◽  
Author(s):  
Laurent Demany ◽  
Catherine Semal
Keyword(s):  
Repetitive Sequences ◽  
Second Order ◽  
The Other ◽  
Perceptual Sensitivity ◽  
Rhythm Perception ◽  
Time Intervals ◽  
Auditory Stream ◽  
First Order ◽  
Order Intervals

To what extent are listeners sensitive to the time intervals separating non-consecutive events in sound sequences? The subjects of Experiment 1 were presented with sequences of 20 identical tones in which the 10 odd-numbered tones or the 10 even-numbered tones made up an isochronous sub-sequence (with a periodicity of 0.5-1 s) whereas the other tones, acting as distractors, occurred at random moments. Such sequences appeared to be very difficult to discriminate from sequences without any timing regularity, which revealed a lack of perceptual sensitivity to their “second-order” intervals. Experiment 2 employed repetitive sequences in which the first-order intervals (separating consecutive tones) took two possible values, forming a ratio that subjects had to classify as larger or smaller than 2. The results of this experiment suggest that subjects were able to make use of second-order intervals in their task, but mainly due to the predictable nature of the sequences; the relative positions of subjective accents (Povel & Essens, 1985) had no significant effect on performance. It is concluded that the perception of subtle timing details in “ordinary” music may rest on nothing more than a sensitivity to the relations between first-order intervals (within a given auditory stream).

scholarly journals The Ecology of Entrainment: Foundations of Coordinated Rhythmic Movement

2010 ◽  
Vol 28 (1) ◽  
pp. 3-14 ◽  
Author(s):  
Jessica Phillips-Silver ◽  
C. Athena Aktipis ◽  
Gregory A. Bryant
Keyword(s):  
Sensory Feedback ◽  
Music Perception ◽  
Motor Coordination ◽  
Vocal Learning ◽  
Rhythmic Movement ◽  
Learning Hypothesis ◽  
Rhythmic Behavior ◽  
Key Aspects ◽  
Spatiotemporal Coordination ◽  
Special Case

Entrainment has been studied in a variety of contexts including music perception, dance, verbal communication, and motor coordination more generally. Here we seek to provide a unifying framework that incorporates the key aspects of entrainment as it has been studied in these varying domains. We propose that there are a number of types of entrainment that build upon pre-existing adaptations that allow organisms to perceive stimuli as rhythmic, to produce periodic stimuli, and to integrate the two using sensory feedback. We suggest that social entrainment is a special case of spatiotemporal coordination where the rhythmic signal originates from another individual. We use this framework to understand the function and evolutionary basis for coordinated rhythmic movement and to explore questions about the nature of entrainment in music and dance. The framework of entrainment presented here has a number of implications for the vocal learning hypothesis and other proposals for the evolution of coordinated rhythmic behavior across an array of species.

Categorical Rhythm Perception as a Result of Unilateral Assimilation in Time-Shrinking

1998 ◽  
Vol 16 (2) ◽  
pp. 201-222 ◽  
Author(s):  
Takayuki Sasaki ◽  
Yoshitaka Nakajima ◽  
Gert Ten Hoopen
Keyword(s):  
Total Duration ◽  
Considerable Change ◽  
Time Interval ◽  
Rhythm Perception ◽  
Time Intervals ◽  
Empty Time Interval ◽  
Method Of Adjustment ◽  
Empty Time ◽  
Perceptual Mechanism ◽  
Perceived Duration

In previous studies, we established an illusion of time perception that we called time-shrinking: an empty time interval, immediately preceded by a slightly shorter time interval, is underestimated. In the first experiment of the present study, we examined the perceived duration not only of the second interval (t2), but also of the first interval (tl). The empty time intervals tl and t2, making a total duration of 90,180, 360, or 720 ms, were presented such that the time ratio between them changed systematically. The points of subjective equality of tl and t2 were established by the method of adjustment. In the patterns typically susceptible to timeshrinking, that is, in which t2 was underestimated, tl was perceived almost vertically. In the second experiment, listeners had to bisect an empty duration of 180 ms, marked by sound bursts. The bisecting sound marker was positioned closer to the initial marker than to the final one. Thus, tl had to be shorter than t2 in order for a regular pattern to be perceived. In the third experiment, just-noticeable forward and backward displacements of the middle sound marker were measured by a transformed updown method. The prediction that the interval of uncertainty was closer to the initial than to the final sound marker was confirmed. The three experiments demonstrated the existence of unilateral temporal assimilation, and it is argued that this perceptual mechanism causes a category of 1:1 rhythms, despite a considerable change in temporal ratio between two contiguous time intervals.

scholarly journals Processing of Rhythm in Speech and Music in Adult Dyslexia

2020 ◽  
Vol 10 (5) ◽  
pp. 261
Author(s):  
Natalie Boll-Avetisyan ◽  
Anjali Bhatara ◽  
Barbara Höhle
Keyword(s):  
Developmental Dyslexia ◽  
Reading Ability ◽  
Individual Variability ◽  
Rhythm Perception ◽  
Causal Account ◽  
Speech Rhythm ◽  
Musical Rhythm ◽  
Reading Deficits ◽  
Adult Dyslexia ◽  
Rhythm Pattern

Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhythm pattern. Additionally, their reading and musical rhythm abilities were measured. Results showed that adults with dyslexia had lower musical rhythm abilities than adults without dyslexia. Moreover, lower musical rhythm ability was associated with lower reading ability in dyslexia. However, speech grouping by adults with dyslexia was not impaired when musical rhythm perception ability was controlled: like adults without dyslexia, they showed consistent preferences. However, rhythmic grouping was predicted by musical rhythm perception ability, irrespective of dyslexia. The results suggest associations among musical rhythm perception ability, speech rhythm perception, and reading ability. This highlights the importance of considering individual variability to better understand dyslexia and raises the possibility that musical rhythm perception ability is a key to phonological and reading acquisition.

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