Differences between Tempos of Step Error and Postural Sway in the Stipulated Tempo Step Test for Children and Their Relationships

Recently, to evaluate dynamic balance ability, a stipulated tempo step test has been developed, and a step error between tempo and contact time of feet has been used as an evaluation variable. The step error, postural sway, and their relationships may differ between the slow tempo (40 bpm) and fast tempo (120 bpm). This study aimed to examine the aforementioned problem with 62 participant children (30 boys and 32 girls). The step error and postural sway variables (X-axis path length, Y-axis path length, total path length, peripheral area, and rectangular area) during stepping while matching both tempos were measured. Means of one minute and three intervals (0–20 sec, 20–40 sec, and 40–60 sec) for each variable were calculated in both tempos. The results of the paired t-test showed that means of all variables were larger in the 40 bpm tempo than in the 120 bpm tempo. In the multiple comparison tests after the results of the two-way repeated measures ANOVA, the means of three intervals in all variables were larger in the 40 bpm tempo than in the 120 bpm tempo; the means of the sway variables, excluding that of the X-axis path length, in the 40 bpm tempo were larger in the 0–20 sec interval than in the 20–40 sec interval or the 40–60 sec interval. Correlations between step errors and those between the step error and sway variables of both tempos were insignificant or under moderation. The correlations between the step error and sway variables in both tempos were insignificant or significant but low, and those among sway variables were high, except between the X- and Y-axis path lengths. The relationship between both axis path lengths differed according to the tempo. In conclusion, in the case of the stipulated tempo step test targeting children, the slow tempo has a greater step error and postural sway than the fast tempo, and the sway in the early step stage is greater in the slow tempo. The relationships between step errors and between the step error and sway variables of both tempos are low; hence, the ability related to the test may differ in both tempos. The relationships among sway variables in both tempos are high, except between the X- and Y-axis path lengths.

Effect of Tempo on Temporal Expectation Driven by Rhythms in Dual-Task Performance

Temporal expectation is the ability to focus attention at a particular moment in time to optimize performance, which has been shown to be driven by regular rhythms. However, whether the rhythm-based temporal expectations rely upon automatic processing or require the involvement of controlled processing has not been clearly established. Furthermore, whether the mechanism is affected by tempo remains unknown. To investigate this research question, the present study used a dual-task procedure. In a single task, the participants were instructed to respond to a visual target preceded by a regular or an irregular visual rhythm under a fast (500 ms) or slow (3,500 ms) tempo. The dual-task simultaneously combined a working memory (WM) task. The results showed temporal expectation effects in which the participants responded faster to the regular than to the irregular conditions in a single task. Moreover, this effect persisted under dual-task interference in the fast tempo condition but was impaired in the slow tempo condition. These results revealed that rhythmic temporal expectation induced by fast tempo was dependent on automatic processing. However, compared with the faster tempo, temporal expectation driven by a slower tempo might involve more controlled processing.

Cross-Modality and Embodiment of Tempo and Timing

This chapter explores the insights that research into cross-modal correspondences and multisensory integration offer to our understanding and investigation of tempo and timing in music performance. As tempo and timing are generated through action, actions and sensory modalities are coupled in performance and form a multimodal unit of intention. This coupled intention is likely to demonstrate characteristics of cross-modal correspondences, linking movement and sound. Testable properties predictions are offered by research into cross-modal correspondences that have so far mainly found confirmation in controlled perceptual experiments. For example, fast tempo is predicted to be linked to smaller movement that is higher in space. Confirmation in the context of performance is complicated by interacting associations with intentions related to e.g. dynamics and energy, which can be addressed through appropriate experimental manipulation. This avenue of research highlights the close association between action and cross-modality, conceiving action as a source of cross-modal correspondences as well as indicating the cross-modal basis of actions. For timing and tempo concepts, action and cross-modality offer concrete and embodied modalities of expression.

Music Tempo and Perception of Time: Musically Trained vs Nontrained Individuals

In this experiment we explored the effect of music tempo on the perception of time. Musically trained and nontrained participants carried out a reproduction task with music clips of various durations and tempos. Results revealed that the reproduced durations were longer for fast-tempo music clips than for slow-tempo music clips of equal duration. In addition, short clips were more accurately reproduced compared to longer stimuli. Notably, the error in reproducing the duration of a stimulus was overall lower for musically trained than nontrained participants, but more so for short than long clips. Finally, the accuracy in estimating the duration of the music clips correlated positively with years of musical training, further suggesting that musical training is a critical variable for time estimation.

Ngeroncongi And Ngepop : A Study Of Popular Song's Vocal Performance In Keroncong Music In Semarang

Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.

Listening to Fast-Tempo Music During a Post-Exercise Passive Rest Period Improved Subsequent Sprint Cycling

Listening to music during active recovery between exercise bouts has been found to help maintain high levels of exercise performance; however, the effect of listening to music alone with no exercise while resting passively has not been elucidated. We examined whether listening to music during static (passive) recovery affects subsequent repeated sprint performances and/or psychological and physiological responses in healthy young males. Twelve healthy young male athletes completed two consecutive sets of 7 × 7 second maximal cycling sprints with a 30-second rest interval between the sprints. During a 15-minute interval between the sets, the participants rested passively while listening to fast-tempo (Fast, 130 bpm), slow-tempo (Slow, 70 bpm) music, or no music (Con). We assessed affective valence and arousal using the Affect Grid. The valence and arousal scores immediately after listening to fast-tempo music were significantly higher than those in the no music condition. Mean and peak power outputs during the second set after listening to fast-tempo music were significantly higher compared to those after the Slow and Con conditions (both adjusted p < .05). Moreover, the changes in exercise performances between the first and second set were significantly associated with changes in the arousal score induced by the music conditions, but not with changes in the valence score. These results suggested that listening to fast-tempo songs during passive recovery between the exercises improved subsequent repeated sprint cycling performance in physically active males. This type of rapid exercise recovery might be useful for competitive athletes, such as judo, track and fields, and swimming races.

A stressful task is when to turn off the music: Effect of music on task performance mediated by cognitive effort

Studies on the effect of music on task performance are contradictory about this relationship’s direction and valence. Task characteristics may be accounting for these inconclusive findings. Thus, this study employs effort to mediate music’s effect on task performance (objective and perceived) under a stressful decision-making process. This is a between-group experiment with three conditions: slow-tempo music, fast-tempo music, or no music. We designed a computer web interface, where participants did a stressful task. Results demonstrated that participants made a strong effort under the conditions with music. Hence, turning the music off under stressful activities is favorable in terms of performance. The article contributes to understanding the interaction between music and task performance, expanding the discussion within a stressful task.

Muscle Fatigability After Hex-Bar Deadlift Exercise Performed With Fast or Slow Tempo

Purpose: To examine the differences in muscle fatigability after resistance exercise performed with fast tempo (FT) compared with slow tempo (ST). Methods: A total of 8 resistance-trained males completed FT and ST hexagonal-barbell deadlifts, consisting of 8 sets of 6 repetitions at 60% 3-repetition maximum, using a randomized crossover design. Each FT repetition was performed with maximal velocity, while each repetition during ST was performed with a 3-1-3 (eccentric/isometric/concentric) tempo (measured in seconds). Isometric maximal voluntary contraction, voluntary muscle activation, and evoked potentiated twitch torque of the knee extensors were determined using twitch interpolation before, during (set 4), and after exercise. Displacement–time data were measured during the protocols. Results: The mean bar velocity and total concentric work were higher for FT compared with ST (995 [166] W vs 233 [52] W; 0.87 [0.05] m/s vs 0.19 [0.05] m/s; 4.8 [0.8] kJ vs 3.7 [1.1] kJ). Maximal voluntary contraction torque, potentiated twitch, and voluntary muscle activation were significantly reduced after FT (−7.8% [9.2%]; −5.2% [9.2%], −8.7% [12.2%]) and ST (−11.2% [8.4%], −13.3% [8.1%], −1.8% [3.6%]). Conclusion: The decline in maximal voluntary force after both the FT and ST hexagonal-barbell deadlifts exercise was accompanied by a similar decline in contractile force and voluntary muscle activation.