Musicians’ Natural Frequencies of Performance Display Optimal Temporal Stability

Zamm, Anna; Wang, Youyi; Palmer, Caroline

doi:10.1177/0748730418783651

Cited by 39 publications

(102 citation statements)

References 34 publications

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“…In another study, musician performed a melody in a solo setting without a metronome, starting at spontaneous tempo that was slower or faster than the SMT. Results showed that the musician's tempo had a tendency to drift back to the SMT [5]. This tendency to drift back to the SMT has also been observed in other similar studies [96,101].…”

Section: Introductionsupporting

confidence: 84%

“…3.3A). Their results show that musicians had a tendency to return to their SMT during a simple melody performance that started at a tempo di↵erent than their SMT [5]. ASHLE does not produce pitch, but we can use it to simulate the beats during this music performance task.…”

Section: Methodsmentioning

confidence: 99%

“…We simulated this task using 23 ASHLE models that di↵ered by their natural frequency and associated period, which matched the 23 musician SMP values measured by Zamm and colleagues [5] (320ms, 350ms, 355ms, 359ms, 382ms, 390ms, 390ms, 415ms, 418ms, 430ms, 435ms, 438ms, 439ms, 439ms, 443ms, 445ms, 455ms, 457ms, 462ms, 470ms, 475ms, 525ms, and 572ms; we excluded the performs a melody starting at a tempo that is di↵erent than the SMT. (A) The mean adjusted slope of consecutive IBIs (and standard error; N=24) when solo musicians perform a simple melody starting a tempo that is fast, faster, slow, or slower compared to the musicians SMTs.…”

Section: Methodsmentioning

confidence: 99%

“…However, most musical performances do not match a musician's spontaneous tempo. How a musician's spontaneous tempo a↵ects a musical performance is still an open question [5]. To tackle this question, one must first study an individual's spontaneous tempo of periodic action, like finger tapping.…”

Section: Introductionmentioning

confidence: 99%

“…As a result, a non-linear oscillator can capture how a musician's MA grows as a function of the di↵erence between the stimulus tempo and the musician's SMT. Moreover, after a non-linear oscillator is phase-locked to the stimulus frequency, if the stimulus disappears the oscillator will continue oscillating but will spontaneously return to its natural frequency [19,106], just like musicians show a tendency to return to their SMT in the absence of a pacing stimulus [5] or after a musical performance [97].…”

Section: Introductionmentioning

confidence: 99%

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Hebbian learning with elasticity explains how the spontaneous motor tempo affects music performance synchronization

Roman

Kim

et al. 2020

Preprint

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Music has a tempo (or frequency of the underlying beat) that musicians maintain throughout a performance. Musicians maintain this musical tempo on their own or paced by a metronome. Behavioral studies have found that each musician shows a spontaneous rate of movement, called spontaneous motor tempo (SMT), which can be measured when a musician spontaneously plays a simple melody. Data shows that a musician's SMT systematically influences how actions align with the musical tempo. In this study we present a model that captures this phenomenon. To develop our model, we review the results from three musical performance settings that have been previously published: (1) solo musical performance with a pacing metronome tempo that is different from the SMT, (2) solo musical performance without a metronome at a spontaneous tempo that is faster or slower than the SMT, and (3) duet musical performance between musician pairs with matching and mismatching SMTs. In the first setting, the asynchrony between the pacing metronome and the musician's tempo grew as a function of the difference between the metronome tempo and the musician's SMT. In the second setting, musicians drifted away from the initial spontaneous tempo toward the SMT. And in the third setting, the absolute asynchronies between performing musicians were smaller if their SMTs matched compared to when they did not. Based on these previous observations, we hypothesize that, while musicians can perform musical actions at a tempo different from their SMT, the SMT constantly acts as a pulling force. We developed a model to test our hypothesis. The model is an oscillatory dynamical system with Hebbian and elastic tempo learning that simulates music performance. We simulate an individual's SMT with the dynamical system's natural frequency. Hebbian learning lets the system's frequency adapt to match the stimulus frequency. The pulling force is simulated with an elasticity term that pulls the learned frequency toward the system's natural frequency. We used this model to simulate the three music performance settings, replicating behavioral results. Our model also lets us make predictions of musician's performance not yet tested. The present study offers a dynamical explanation of how an individual's SMT affects adaptive synchronization in realistic musical performance.

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Section: Introductionsupporting

confidence: 84%

Section: Methodsmentioning

confidence: 99%

Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 3 more Smart Citations

Hebbian learning with elasticity explains how the spontaneous motor tempo affects music performance synchronization

Roman

Kim

et al. 2020

Preprint

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Musical training enhances temporal adaptation of auditory-motor synchronization

2019

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Spontaneous and stimulus-driven rhythmic behaviors in ADHD adults and controls

Amrani

Golumbic

2020

Neuropsychologia

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Many aspects of human behavior are inherently rhythmic, requiring production of rhythmic motor actions as well as synchronizing to rhythms in the environment. It is wellestablished that individuals with ADHD exhibit deficits in temporal estimation and timing functions, which may impact their ability to accurately produce and interact with rhythmic stimuli. In the current study we seek to understand the specific aspects of rhythmic behavior that are implicated in ADHD. We specifically ask whether they are attributed to imprecision in the internal generation of rhythms or to reduced acuity in rhythm perception. We also test key predictions of the Preferred Period Hypothesis, which suggests that both perceptual and motor rhythmic behaviors are biased towards a specific personal 'default' tempo. To this end, we tested several aspects of rhythmic behavior and the correspondence between them, including spontaneous motor tempo (SMT), preferred auditory perceptual tempo (PPT) and synchronization-continuations tapping in a broad range of rhythms, from sub-second to supra-second intervals. Moreover, we evaluate the intra-subject consistency of rhythmic preferences, as a means for testing the reality and reliability of personal 'default-rhythms'.We used a modified operational definition for assessing SMT and PPT, instructing participants to tap or calibrate the rhythms most comfortable for them to count along with, to avoid subjective interpretations of the task.Our results shed new light on the specific aspect of rhythmic deficits implicated in ADHD adults. We find that individuals with ADHD are primarily challenged in producing and maintaining isochronous self-generated motor rhythms, during both spontaneous and memory-paced tapping. However, they nonetheless exhibit good flexibility for synchronizing to a broad range of external rhythms, suggesting that auditory-motor entrainment for simple rhythms is preserved in ADHD, and that the presence of an external pacer allows overcoming their inherent difficulty in self-generating isochronous motor rhythms. In addition, both groups showed optimal memory-paced tapping for rhythms near their 'counting-based' SMT and PPT, which were slightly faster in the ADHD group. This is in line with the predictions of the Preferred Period Hypothesis, indicating that at least for this well-defined rhythmic behavior (i.e., counting), individuals tend to prefer similar time-scales in both motor production and perceptual evaluation.

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Musicians’ Natural Frequencies of Performance Display Optimal Temporal Stability

Cited by 39 publications

References 34 publications

Hebbian learning with elasticity explains how the spontaneous motor tempo affects music performance synchronization

Hebbian learning with elasticity explains how the spontaneous motor tempo affects music performance synchronization

Musical training enhances temporal adaptation of auditory-motor synchronization

Spontaneous and stimulus-driven rhythmic behaviors in ADHD adults and controls

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