Rate Limits of On-Beat and Off-Beat Tapping With Simple Auditory Rhythms: 1. Qualitative Observations

2005 ◽  
Vol 22 (3) ◽  
pp. 479-496 ◽  
Author(s):  
Bruno H. Repp
Keyword(s):  
Individual Differences ◽  
Music Performance ◽  
Tone Onset ◽  
Finger Tapping ◽  
Sensorimotor Coordination

The accuracy of on-beat and off-beat synchronized finger tapping was examined as a function of sequence rate in musically trained individuals. Auditory sequences consisted of cyclically repeated, underlyingly isochronous patterns of the form T0, TT0, or TTT0, where T denotes a tone onset and 0 denotes its absence. In different conditions, participants attempted to tap in synchrony with one of the possible T (�on-beat�) or 0 (�off-beat�) positions in each pattern while the sequence rate increased from trial to trial. It was hypothesized that on-beat tapping would be easier with tones that carry a rhythmic grouping accent (T2 in TT0, T1 and T3 in TTT0) than with tones that do not (T1 in TT0, T2 in TTT0), according to findings of Povel and colleagues. The hypothesis was strongly supported for TTT0, but there were considerable individual differences with regard to TT0. Off-beat tapping was generally difficult and often switched to on-beat tapping at fast tempi. The findings reveal rate limits of sensorimotor coordination that may be relevant to music performance in ensembles.

scholarly journals Spatiotemporal perturbations in paced finger tapping suggest a common mechanism for the processing of time errors

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Sabrina Laura López ◽  
Rodrigo Laje
Keyword(s):  
Error Correction ◽  
Music Performance ◽  
Experimental Manipulation ◽  
Sensorimotor Synchronization ◽  
Finger Tapping ◽  
Common Mechanism ◽  
Common Error ◽  
Error Correction Mechanism ◽  
Nonlinear Features ◽  
Temporal Perturbation

AbstractPaced finger tapping is a sensorimotor synchronization task where a subject has to keep pace with a metronome while the time differences (asynchronies) between each stimulus and its response are recorded. A usual way to study the underlying error correction mechanism is to perform unexpected temporal perturbations to the stimuli sequence. An overlooked issue is that at the moment of a temporal perturbation two things change: the stimuli period (a parameter) and the asynchrony (a variable). In terms of experimental manipulation, it would be desirable to have separate, independent control of parameter and variable values. In this work we perform paced finger tapping experiments combining simple temporal perturbations (tempo step change) and spatial perturbations with temporal effect (raised or lowered point of contact). In this way we decouple the parameter-and-variable confounding, performing novel perturbations where either the parameter or the variable changes. Our results show nonlinear features like asymmetry and are compatible with a common error correction mechanism for all types of asynchronies. We suggest taking this confounding into account when analyzing perturbations of any kind in finger tapping tasks but also in other areas of sensorimotor synchronization, like music performance experiments and paced walking in gait coordination studies.

scholarly journals Temporal and spatiotemporal perturbations in paced finger tapping point to a common mechanism for the processing of time errors

2019 ◽  
Author(s):  
Sabrina L. López ◽  
Rodrigo Laje
Keyword(s):  
Music Performance ◽  
Experimental Manipulation ◽  
Step Change ◽  
Sensorimotor Synchronization ◽  
Finger Tapping ◽  
Common Mechanism ◽  
Nonlinear Features ◽  
The Subject ◽  
Gait Coordination ◽  
The Moment

AbstractPaced finger tapping is a sensorimotor synchronization task where a subject is instructed to keep pace with an external metronome, as when following along with the beat of music, and the time differences (asynchronies) between each stimulus and its response are recorded. The usual way to study the underlying error correction mechanism is to make unexpected temporal perturbations to the stimuli sequence and then let the subject recover average synchronization. A critical but overlooked issue in traditional temporal perturbations, however, is that at the moment of perturbation two things change: both the stimuli period (a parameter) and the asynchrony (a variable). In terms of experimental manipulation, it would be desirable to have separate, independent control of parameter and variable values. In this work we perform paced finger tapping experiments combining simple temporal perturbations (tempo step change) and spatial perturbations with temporal effect (raised or lowered point of contact). In this way we decouple the parameter-and-variable confounding of traditional temporal perturbations and perform novel perturbations where either the parameter only changes or the variable only changes. Our results show nonlinear features like asymmetry and are compatible with the idea of a common mechanism for the correction of all types of asynchronies. We suggest taking this confounding into account when analyzing perturbations of any kind in finger tapping tasks but also in other areas of sensorimotor synchronization, like music performance experiments and paced walking in gait coordination studies.

scholarly journals Rhythmic Prototypes Across Cultures

2018 ◽  
Vol 36 (1) ◽  
pp. 1-23 ◽  
Author(s):  
Rainer Polak ◽  
Nori Jacoby ◽  
Timo Fischinger ◽  
Daniel Goldberg ◽  
Andre Holzapfel ◽  
...  
Keyword(s):  
Music Performance ◽  
Finger Tapping ◽  
Small Integer ◽  
Performance Patterns ◽  
Culture Dependent

It has long been assumed that rhythm cognition builds on perceptual categories tied to prototypes defined by small-integer ratios, such as 1:1 and 2:1. This study aims to evaluate the relative contributions of both generic constraints and selected cultural particularities in shaping rhythmic prototypes. We experimentally tested musicians’ synchronization (finger tapping) with simple periodic rhythms at two different tempi with participants in Mali, Bulgaria, and Germany. We found support both for the classic assumption that 1:1 and 2:1 prototypes are widespread across cultures and for culture-dependent prototypes characterized by more complex ratios such as 3:2 and 4:3. Our findings suggest that music-cultural environments specify links between music performance patterns and perceptual prototypes.

Is Recognition of Emotion in Music Performance an Aspect of Emotional Intelligence?

2004 ◽  
Vol 22 (1) ◽  
pp. 145-158 ◽  
Author(s):  
Joel E. Resnicow ◽  
Peter Salovey ◽  
Bruno H. Repp
Keyword(s):  
Emotional Intelligence ◽  
Individual Differences ◽  
Emotion Recognition ◽  
Nonverbal Communication ◽  
Music Performance ◽  
Piano Music ◽  
Intelligence Test ◽  
Listening Test ◽  
Expression Of Emotion

Expression of emotion in music performance is a form of nonverbal communication to which people may be differentially receptive. The recently developed Mayer-Salovey-Caruso Emotional Intelligence Test assesses individual differences in the ability to identify, understand, reason with, and manage emotions using hypothetical scenarios that are conveyed pictorially or in writing. The test currently does not include musical or spoken items. We asked 24 undergraduates to complete both that test and a listening test in which they tried to identify the intended emotions in performances of classical piano music. Emotional intelligence and emotion recognition in the music task were significantly correlated (r = .54), which suggests that identification of emotion in music performance draws on some of the same sensibilities that make up everyday emotional intelligence.

Music performance anxiety and perfectionism in Croatian musicians

2021 ◽  
pp. 030573562097869
Author(s):  
Ana Butković ◽  
Nikolina Vukojević ◽  
Sara Carević
Keyword(s):  
Regression Analysis ◽  
Individual Differences ◽  
Music Performance ◽  
Performance Anxiety ◽  
Music Students ◽  
Music Performance Anxiety ◽  
Maladaptive Perfectionism ◽  
Clinically Significant ◽  
Orchestral Musicians

Music performance anxiety (MPA) is part of every musician’s life. Individual differences in MPA have been associated with individual differences in perfectionism, especially maladaptive perfectionism. The aim of this study was to examine MPA and its association with perfectionism in a combined sample of music students studying at the Academy of Music and members of the professional orchestras in Zagreb. Based on the previous studies, we hypothesized that gender, age, and maladaptive perfectionism would predict higher MPA. Data were collected for 239 musicians (152 music students, 87 orchestral musicians, 50.2% female), who filled in Kenny Music Performance Anxiety Inventory–Revised (K-MPAI-R) and Almost Perfect Scale–Revised (APS-R). In our sample, 28% ( n = 67) of musicians had a clinically significant MPA level. In the regression analysis with gender, age, and dimensions of adaptive and maladaptive perfectionism as predictors, 46% of the MPA variance was explained with gender (β = .14, p = .007), age (β = −.22, p < .001), and discrepancy (β = .62, p < .001) as significant predictors. Higher MPA was predicted by being female, a younger musician, and having a higher maladaptive perfectionism. This indicates it would be important to deal with maladaptive perfectionism to effectively manage MPA.

Cognitive Styles of Music Listening

2008 ◽  
Vol 26 (1) ◽  
pp. 57-73 ◽  
Author(s):  
Gunter Kreutz ◽  
Emery Schubert ◽  
Laura A. Mitchell
Keyword(s):  
Factor Analysis ◽  
Individual Differences ◽  
Similar Pattern ◽  
Cognitive Styles ◽  
Music Performance ◽  
Measurement Instrument ◽  
Short Version ◽  
Music Listening ◽  
Validity And Reliability ◽  
Feeling States

BARON-COHEN'S EMPATHIZER-SYSTEMIZER-THEORY (E-S theory, Baron-Cohen, Knickmeyer, & Belmonte, 2005) distinguishes two general cognitive styles. Empathizing is characterized as the capacity to respond to feeling states of other individuals, whereas systemizing is characterized as the capacity to respond to regularities of objects and events. To investigate these traits within the music domain, a questionnaire study (N = 442) was conducted. Construct validity and reliability of the measurement instrument were assessed by factor analysis procedures. A simplified unit weighting (SUW) scale was used to determine individual differences in music empathizing (ME) and music systemizing (MS). Significant effects of sex and of music performance experience were observed. A highly similar pattern of results emerged from a replicating survey (N = 155) using a short-version of the questionnaire. These results suggest that the ME and MS traits corroborate and extend the general E-S theory.

A Three-Dimensional Model for Evaluating Individual Differences in Tempo and Tempo Variation in Musical Performance

2019 ◽  
pp. 102986491987312
Author(s):  
Danny Quan Zhou ◽  
Dorottya Fabian
Keyword(s):  
Individual Differences ◽  
Music Performance ◽  
Three Dimensional ◽  
Three Dimensions ◽  
Three Dimensional Model ◽  
Performance Style ◽  
Comprehensive Knowledge ◽  
Music Performance Research ◽  
Recorded Performances ◽  
Performance Research

People differ from each other, and this includes performers of music. The study of individual differences is well established in many social science disciplines but has been largely neglected in music performance research. To what extent do performers play differently from each other? How can these differences be concisely described and precisely assessed? Questions like these remain unanswered. Focusing on tempo and tempo variation in performance, this article contributes to knowledge by describing a well-defined, clearly illustrated and systematically classified taxonomy for identifying differences in tempo and tempo variation. Based on findings from past theoretical and empirical research on tempo in performance, it presents a model whereby performers’ individual differences in tempo and tempo variation can be evaluated. The model identifies six variables representing three dimensions of tempo and tempo variation: basic tempo, global tempo variation, and local tempo variation. It has the potential for providing researchers with a toolbox for analyzing differences among individual performers’ use of tempo and tempo variation by assessing the extent to which each of the variables is embodied in specific performances. Evgeny Kissin’s and Lars Vogt’s recorded performances are used to illustrate how the model will perform its role. Researchers could test the model further by analyzing a larger repertoire and/or carrying out experiments to generate more comprehensive knowledge about individual differences in performance style.

Musical Expertise and Brain Structure: The Causes and Consequences of Training

2019 ◽  
pp. 417-438
Author(s):  
Virginia B. Penhune
Keyword(s):  
Individual Differences ◽  
Brain Structure ◽  
Structural Changes ◽  
Brain Plasticity ◽  
Music Performance ◽  
Imaging Studies ◽  
Music Training ◽  
Motor Network ◽  
Reward Value ◽  
The Brain

Brain imaging studies have demonstrated that music training can change brain structure, predominantly in the auditor-motor network that underlies music performance. The chapter argues that the observed differences in brain structure between experts and novices, and the changes that occur with training derive from at least four sources: first, pre-existing individual differences that promote certain skills; second, lengthy and consistent training which likely produces structural changes in the brain networks tapped by performance; third, practice during specific periods of development which may result in changes that do not occur at other periods of time; fourth, the rewarding nature of music itself, as well as the reward value of practice which may make music training a particularly effective driver of brain plasticity.

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