Effect of different delayed auditory feedback intervals on a music performance task

Gates, Anne; Bradshaw, John L.; Nettleton, Norman C.

doi:10.3758/bf03205822

Cited by 36 publications

(39 citation statements)

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“…The 200-msec critical interval reported in these studies matches the value for speech, supporting the view that this might be a universal DAF constant. However, Gates, Bradshaw, and Nettleton (1974) reported that maximal impairment in musical keyboard performance occurred with a delay of 270 msec, but in neither this study nor other DAF studies on music (e.g., Finney, 1997) was performance rate controlled as a factor.…”

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confidence: 62%

Delayed auditory feedback and rhythmic tapping: Evidence for a critical interval shift

Finney

Warren

2002

Perception & Psychophysics

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Delayed auditory feedback (DAF) impairs performance in speech, music, and tapping, with maximal impairment in speech occurring at a delay of about 200 msec. This critical interval has played a central role in many explanations of the DAF effect, including both closed-loop feedback explanations and alternative proposals. We investigated the nature of the critical interval in rhythmic tapping-in particular, whether the critical interval has a constant value or is dependent on performance rate. Three experiments in which a synchronization-continuation paradigm was used consistently showed that the critical interval shifted with different tapping rates, with maximal impairment occurring when the delay approximately equaled the tapping rate. We address the implications of these results for theories of DAF.

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confidence: 62%

Delayed auditory feedback and rhythmic tapping: Evidence for a critical interval shift

Finney

Warren

2002

Perception & Psychophysics

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“…Studies of DAF document its disruption in a variety of tasks including music performance, speech, and tapping (e.g. Fairbanks, 1958;Finney, 1997;Gates, Bradshaw, & Nettleton, 1974;Howell, Powell, & Khan, 1983;Lee, 1950;MacKay, 1987;Robinson, 1972; Warren, Delayed auditory feedback and rhythmic tapping: evidence for a critical interval shift, submitted). Measurements of disruption include changes in production rate (usually slowing) and serial ordering errors.…”

Section: Introductionmentioning

confidence: 99%

Effects of delayed auditory feedback on timing of music performance

Pfordresher

Palmer

2002

Psychological Research

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Three experiments examined effects of delayed auditory feedback (DAF) on music performance as a function of the temporal location of feedback onsets within produced inter-onset intervals (IOIs). In Experiment 1, pianists performed isochronous melodies at two production rates with different amounts of DAF. Timing variability decreased for DAF amounts that caused feedback onsets to occur halfway through IOIs (binary subdivisions) in a 500-ms, but not 600-ms, IOI rate condition. In Experiment 2, pianists performed melodies with DAF delays and chose a preferred rate. Performers chose slower rates for larger delays; preferred rates approximated twice the amount of DAF. Experiment 3 tested the possibility that subjects deliberately conceptualized subdivisions in Experiments 1 and 2. Performers were given (1) no instructions, (2) instructions to mentally subdivide produced events in two, or (3) instructions to mentally subdivide produced events in three, in different blocks. Instructions to subdivide reduced timing variability for larger feedback delays. These experiments indicate that DAF disruption is reduced by subdividing instructions and sometimes by coincidences of feedback onsets with subdivisions of produced intervals. Such facilitation may reflect the use of hierarchical cognitive plans in production.

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“…Similar to effects on speech, DAF disrupts keyboard performance by increasing error rates (e.g., Finney, 1997), increasing inter-onset intervals (IOIs, e.g., Gates, Bradshaw & Nettleton, 1974;Havliceck, 1968;Finney, 1997), and increasing timing variability (Pfordresher, 2003a;Pfordresher & Palmer, 2002). Increases in each variable are evidence of "disruption" insofar as they signal a deviation from the intended performance, typically represented by performance with normal feedback.…”

Section: Feedback Timing and Type Of Disruptionmentioning

confidence: 99%

“…Typically, disruption increases with delay length (temporal separation between actions and feedback) to a certain point and then reaches asymptote (e.g., Gates, Bradshaw, & Nettleton, 1974, who found an asymptote around 270 ms in music performance) or decreases (e.g., in speech, Fairbanks & Guttman, 1958). Some speech researchers have proposed that maximal disruption occurs when delay lengths equal the length of the syllable (approximately 200 ms at a normal speakeing rate) -a possible planning unit in speech (Black, 1951; see also Howell, Powell, & Khan, 1983).…”

Section: Feedback Timing and Maximal Disruptionmentioning

confidence: 99%

Coordination of perception and action in music performance

Pfordresher¹

2006

Advances in Cognitive Psychology

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INTRODUCTIONWhen performing musical sequences, people plan actions to produce acoustic events that communicate thoughts and emotions (for reviews see Gabrielsson, 1999;Jones & Holleran, 1992;Juslin & Sloboda, 2001;Palmer, 1997;Sloboda, 1982;1985;.Sequence production in contexts such as music and speech involves communicating a message through sound, a process that is probably guided by monitoring the perceived consequences of one's actions (Levelt, 1989;MacKay, 1987;Palmer & Drake, 1997). However, little research has addressed the role of self-perception in music performance. My research has explored this issue by examining the ways in which the maintenance of fluency during music performance depends on matches between actions and auditory feedback (the sounds one creates). Results suggest that higher-order representations of musical structure guide both the planning of actions and the perception of auditory feedback (cf. Hommel, Müsseler, Aschersleben, & Prinz, 2001;MacKay, 1987;Müsseler, 1999;Prinz, 1997).The lack of research on the role of auditory feedback may result from its apparently obvious importance to music performance. How else could music be learned or communicated but through close monitoring of sound? Nevertheless, some evidence indicates that the importance of auditory feedback may be circumscribed.On the one hand, the presence of sound during learning facilitates recall during performance, even for skilled pianists (Finney & Palmer, 2003). On the other hand, learning to produce a sequence of key presses on a piano does not depend on the presence of sound, even for people without any musical training (Pfordresher, 2005, Experiment 3). Furthermore, the absence of sound during keyboard performance of a learned melody has negligible effects on trained performers (Finney, 1997;Finney & Palmer, 2003;Pfordresher, 2005;Repp, 1999;Repp & Knoblich, 2004) or untrained performers (Pfordresher, 2005). actions when auditory feedback is present, though they may not rely on the presence of feedback. Disruption from altered feedback therefore may result from miscoordination between perception and action. The present article reviews research on the disruptive effects of altered auditory feedback to music performance, focusing in particular on the effects by the author (for more extensive reviews on the role of auditory feedback see Finney, 1999;Smith, 1962;Yates, 1963; for reviews focused on speech with applications for stuttering see Howell, 2004aHowell, , 2004b. The focus of the research summarized here is on keyboard performance, which is the only domain of music performance that has been studied extensively with respect to altered auditory feedback. This review is organized into two main sections, the first summarizes recent results of different kinds of feedback alterations, and the second reflects on the theoretical implications of these results. EFFECTS OF ALTERED AUDITORY FEEDBACK (AAF)Research on the interplay between perception and action in music performance has relied mainly on the altered auditory f...

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Effect of different delayed auditory feedback intervals on a music performance task

Cited by 36 publications

References 20 publications

Delayed auditory feedback and rhythmic tapping: Evidence for a critical interval shift

Delayed auditory feedback and rhythmic tapping: Evidence for a critical interval shift

Effects of delayed auditory feedback on timing of music performance

Coordination of perception and action in music performance

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