Auditorily Paced Keytapping Performance during Synchronous, Decreased, and Delayed Visual Feedback

20 young adult female Ss tapped on a tapping key to low, mid, and high sensation-level pure-tone auditory-pacing stimuli while being exposed to synchronous visual-feedback, delayed visual-feedback, and decreased sensory-feedback conditions. The stroboscopic visual-feedback stimulus was judged to be as bright as the mid-sensation-level auditory stimulus was loud in a preliminary cross-modality matching study. The dependent variables evaluated were tapping error, temporal deviation of the taps from the onset of the pacing stimuli, and tap duration. Few tapping errors occurred under any of the conditions which indicated that the auditory sensory modality is effective in regulating motor performance even when temporally distorted visual feedback is associated with the performance. Tapping deviation data strongly suggested that the relative perceptual magnitudes between the auditory pacing stimuli and the delayed visual-feedback stimulus are important factors in determining the speed of motor response. Tap durations were greater during decreased sensory-feedback and delayed visual-feedback conditions than during synchronous visual-feedback conditions, and it was speculated that these changes occurred due to an increase in tactual and kinesthetic feedback employed by Ss to counterbalance the distorted and decreased sensory feedbacks.

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Visually and Auditorily Paced Keytapping Performance During Synchronous, Decreased, and Delayed Auditory and Visual Feedback

Journal of Speech and Hearing Research ◽

10.1044/jshr.1004.865 ◽

1967 ◽

Vol 10 (4) ◽

pp. 865-875 ◽

Cited By ~ 5

Author(s):

Raymond S. Karlovich ◽

James T. Graham

Keyword(s):

Visual Feedback ◽

Auditory Feedback ◽

Motor Performance ◽

Sensory Feedback ◽

Visual Stimuli ◽

Delayed Auditory Feedback ◽

The Moment ◽

Delayed Visual Feedback ◽

Female Subjects

Twenty female subjects tapped on a tapping key to programmed visual pacing stimuli under synchronous auditory feedback, delayed auditory feedback, and decreased sensory feedback conditions and also to programmed auditory pacing stimuli under synchronous visual feedback, delayed visual feedback, and decreased sensory feedback conditions. Cross-modality matching procedures were employed to equate the perceptual magnitudes of the auditory and visual stimuli. Pattern duration and tapping key displacement variables were evaluated and it was noted that the relative perceptual magnitudes between pacing and feedback stimuli are important aspects determining the degree of alteration in keytapping motor performance under delayed sensory feedback. The data also indicated that increases in the intensity of tapping observed under delayed sensory feedback conditions were not due to the temporal distortion of the feedback but possibly to an absence of feedback at the moment of tapping.

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Effects of Field-Articulation and Feedback on Perception of Intermediate Visual-Kinesthetic Position

Perceptual and Motor Skills ◽

10.2466/pms.1975.40.3.875 ◽

1975 ◽

Vol 40 (3) ◽

pp. 875-878 ◽

Cited By ~ 1

Author(s):

J. Roger Ware ◽

Richard C. Barnhill

Keyword(s):

Visual Feedback ◽

Auditory Feedback ◽

High Field ◽

Sensory Feedback ◽

Constant Error ◽

Mean Absolute Error ◽

Absolute Error ◽

Low Field ◽

Kinesthetic Feedback ◽

The Mean

High and low field-articulators were compared on the accuracy with which they could adjust a rod to intermediate visual-kinesthetic positions while blindfolded, under four sensory-feedback conditions. Independent groups of 10 Ss were given auditory, visual, kinesthetic, or no sensory feedback for 16 trials and then tested on 8 trials without sensory feedback. High field-articulators were significantly more accurate on the feedback trials for all sensory-feedback conditions but not in terms of mean absolute error. The mean constant error on the test trials was significantly lower for the high field-articulators on all feedback conditions except for visual feedback where the low field-articulator had a lower constant error. Both the high and low field-articulators became more accurate and learned more in judging visual-kinesthetic position when auditory feedback was given. Low field-articulators showed significant improvement in accuracy with kinesthetic feedback. The results supported the hypothesis that intermediate directions can be learned and supported previous perceptual research.

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Sensory feedback in music performer–instrument interactions

Psychology of Music ◽

10.1177/0305735620928397 ◽

2020 ◽

pp. 030573562092839

Author(s):

Marília Nunes-Silva ◽

Thenille Braun Janzen ◽

Ricardo Gomes Rodrigues ◽

Ana Raíssa da Luz

Keyword(s):

Sensory Feedback ◽

Sensory Modality ◽

Music Performance ◽

Pedagogical Practice ◽

Feedback Mechanisms ◽

Related Information ◽

Individual Interaction ◽

Kinesthetic Feedback ◽

The Individual

Musical performance involves the production of highly accurate sequences of movements in space and time. During a performance, real-time auditory, visual, somatosensory (tactile and kinematic), and movement-related information of the outcome of an action provided within the different sensory systems is integrated into a coherent percept and fed back to the motor system. These sensory feedback mechanisms are, therefore, crucial to maintaining the fluency of production. However, how and to what extent do these feedback mechanisms influence music performance and learning? A growing area of research has investigated the role of different types of sensory feedback on the musicians’ performance. The aim of this integrative review is to overview the recent literature on the role of sensory feedback on music performance, focusing particularly on the individual interaction between musician and instrument. In the first section, we review recent findings regarding the role of auditory, visual, and somatosensory (tactile and kinesthetic) feedback on music performance considering each sensory modality separately. To finalize, we briefly discuss the implications of these findings to support learning and pedagogical practice.

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