In this study we explore how music can entrain human walkers to synchronise to the musical beat without being instructed to do so. For this, we use an interactive music player, called D-Jogger, that senses the user's walking tempo and phase. D-Jogger aligns the music by manipulating the timing difference between beats and footfalls. Experiments are reported that led to the development and optimisation of four alignment strategies. The first strategy matched the music's tempo continuously to the runner's pace. The second strategy matched the music's tempo at the beginning of a song to the runner's pace, keeping the tempo constant for the remainder of the song. The third alignment starts a song in perfect phase synchrony and continues to adjust the tempo to match the runner's pace. The fourth and last strategy additionally adjusts the phase of the music so each beat matches a footfall. The first two strategies resulted in a minor increase of steps in phase synchrony with the main beat when compared to a random playlist, the last two strategies resulted in a strong increase in synchronised steps. These results may be explained in terms of phase-error correction mechanisms and motor prediction schemes. Finding the phase-lock is difficult due to fluctuations in the interaction, whereas strategies that automatically align the phase between movement and music solve the problem of finding the phase-locking. Moreover, the data show that once the phase-lock is found, alignment can be easily maintained, suggesting that less entrainment effort is needed to keep the phase-lock, than to find the phase-lock. The different alignment strategies of D-Jogger can be applied in different domains such as sports, physical rehabilitation and assistive technologies for movement performance.
Weighted averaging is said to be optimal when the weights assigned to the cues minimize the variance of the final estimate. Since the variance of this optimal percept only depends on the variances of the individual cues, irrespective of their values, judgments about a cue conflict stimulus should have the same variance as ones about a cue consistent stimulus. We tested this counter-intuitive prediction with a slant matching experiment using monocular and binocular slant cues. We found that the slant was indeed matched with about the same variance when the cues indicated slants that differed by 15 degrees as when they indicated the same slant.
Natural visual scenes contain several independent sources of information (cues) about a single property such as slant. It is widely assumed that the visual system processes such cues separately and then combines them with an averaging operation that takes the reliabilities of the individual cues into account. Does that mean that people lose access to information about inconsistencies between the cues, or are all inconsistencies revealed in a distorted surface appearance? To find out, we let observers match the slant and appearance of a simulated test surface to those of an identical, simultaneously visible, simulated reference surface and analyzed the variability in the settings. We also let observers match surfaces under conditions that were manipulated in ways that were expected to favor certain cues (monocular or binocular) or to selectively disrupt certain comparisons between the surfaces (slant or structure). The patterns in the variability between the settings were consistent with predictions based on the use of all available information. We argue that information about discrepancies is only "lost" during cue combination if there is no benefit in retaining the information.
When several cues provide information about the same property of a visual scene, a weighted average of the singe-cue estimates can provide a more reliable estimate than that of any individual cue. Some cues rely on assumptions about the scene, such as that shapes are isotropic. Assuming that an elliptical image arises from viewing a circle at an angle allows one to extract the circle's angle from the aspect ratio in the image. This study investigates whether the weight given to image shape as a slant cue depends on the prevailing circumstances. Neither rotating an object to provide direct evidence that it is circular, nor surrounding an object with circles rather than ellipses increased the weight assigned to image shape relative to that assigned to binocular information. Thus the weight given to slant cues does not seem to rely on an elaborate analysis of the scene.
In the present paper, we report the results of an empirical study on the effects of cognitive load on operatic singing. The main aim of the study was to investigate to what extent a working memory task affected the timing of operatic singers' performance. Thereby, we focused on singers' tendency to speed up, or slow down their performance of musical phrases and pauses. Twelve professional operatic singers were asked to perform an operatic aria three times; once without an additional working memory task, once with a concurrent working memory task (counting shapes on a computer screen), and once with a relatively more difficult working memory task (more shapes to be counted appearing one after another). The results show that, in general, singers speeded up their performance under heightened cognitive load. Interestingly, this effect was more pronounced in pauses—more in particular longer pauses—compared to musical phrases. We discuss the role of sensorimotor control and feedback processes in musical timing to explain these findings.
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