Musical collaboration emerges from the complex interaction of environmental and informational constraints, including those of the instruments and the performance context. Music improvisation in particular is more like everyday interaction in that dynamics emerge spontaneously without a rehearsed score or script. We examined how the structure of the musical context affords and shapes interactions between improvising musicians. Six pairs of professional piano players improvised with two different backing tracks while we recorded both the music produced and the movements of their heads, left arms, and right arms. The backing tracks varied in rhythmic and harmonic information, from a chord progression to a continuous drone. Differences in movement coordination and playing behavior were evaluated using the mathematical tools of complex dynamical systems, with the aim of uncovering the multiscale dynamics that characterize musical collaboration. Collectively, the findings indicated that each backing track afforded the emergence of different patterns of coordination with respect to how the musicians played together, how they moved together, as well as their experience collaborating with each other. Additionally, listeners' experiences of the music when rating audio recordings of the improvised performances were related to the way the musicians coordinated both their playing behavior and their bodily movements. Accordingly, the study revealed how complex dynamical systems methods (namely recurrence analysis) can capture the turn-taking dynamics that characterized both the social exchange of the music improvisation and the sounds of collaboration more generally. The study also
The current study was designed to investigate complexity matching during syncopated behavioral coordination. Participants either tapped in (bimanual) syncopation using their two hands, or tapped in (interpersonal) syncopation with a partner, with each participant using one of their hands. The time series of inter-tap intervals (ITI) from each hand were submitted to fractal analysis, as well as to short-term and multi-timescale cross-correlation analyses. The results demonstrated that the fractal scaling of one hand’s ITI was strongly correlated to that of the other hand, and this complexity matching effect was stronger in the bimanual condition than in the interpersonal condition. Moreover, the degree of complexity matching was predicted by the strength of short-term cross-correlation and the stability of the asynchrony between the two tapping series. These results suggest that complexity matching is not specific to the inphase synchronization tasks used in past research, but is a general result of coordination between complex systems.
Dancing and playing music require people to coordinate actions with auditory rhythms. In laboratory perception-action coordination tasks, people are asked to synchronize taps with a metronome. When synchronizing with a metronome, people tend to anticipate stimulus onsets, tapping slightly before the stimulus. The anticipation tendency increases with longer stimulus periods of up to 3500ms, but is less pronounced in trained individuals like musicians compared to non-musicians. Furthermore, external factors influence the timing of tapping. These factors include the presence of auditory feedback from one’s own taps, the presence of a partner performing coordinated joint tapping, and transmission latencies (TLs) between coordinating partners. Phenomena like the anticipation tendency can be explained by delay-coupled systems, which may be inherent to the sensorimotor system during perception-action coordination. Here we tested whether a dynamical systems model based on this hypothesis reproduces observed patterns of human synchronization. We simulated behavior with a model consisting of an oscillator receiving its own delayed activity as input. Three simulation experiments were conducted using previously-published behavioral data from 1) simple tapping, 2) two-person alternating beat-tapping, and 3) two-person alternating rhythm-clapping in the presence of a range of constant auditory TLs. In Experiment 1, our model replicated the larger anticipation observed for longer stimulus intervals and adjusting the amplitude of the delayed feedback reproduced the difference between musicians and non-musicians. In Experiment 2, by connecting two models we replicated the smaller anticipation observed in human joint tapping with bi-directional auditory feedback compared to joint tapping without feedback. In Experiment 3, we varied TLs between two models alternately receiving signals from one another. Results showed reciprocal lags at points of alternation, consistent with behavioral patterns. Overall, our model explains various anticipatory behaviors, and has potential to inform theories of adaptive human synchronization.
Effective interpersonal coordination is fundamental to robust social interaction, and the ability to anticipate a co-actor's behavior is essential for achieving this coordination. However, coordination research has focused on the behavioral synchrony that occurs between the simple periodic movements of co-actors and, thus, little is known about the anticipation that occurs during complex, everyday interaction. Research on the dynamics of coupled neurons, human motor control, electrical circuits, and laser semiconductors universally demonstrates that small temporal feedback delays are necessary for the anticipation of chaotic events. We therefore investigated whether similar feedback delays would promote anticipatory behavior during social interaction. Results revealed that co-actors were not only able to anticipate others' chaotic movements when experiencing small perceptual-motor delays, but also exhibited movement patterns of equivalent complexity. This suggests that such delays, including those within the human nervous system, may enhance, rather than hinder, the anticipatory processes that underlie successful social interaction.
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