Perceiving temporal regularity in music

Abstract

We address how listeners perceive temporal regularity in music performances, which are rich in temporal irregularities. A computational model is described in which a small system of internal self-sustained oscillations, operating at different periods with specific phase and period relations, entrains to the rhythms of music performances. Based on temporal expectancies embodied by the oscillations, the model predicts the categorization of temporally changing event intervals into discrete metrical categories, as well as the perceptual salience of deviations from these categories. The model's predictions are tested in two experiments using piano performances of the same music with different phrase structure interpretations (Experiment 1) or different melodic interpretations (Experiment 2). The model successfully tracked temporal regularity amidst the temporal fluctuations found in the performances. The model's sensitivity to performed deviations from its temporal expectations compared favorably with the performers' structural (phrasal and melodic) intentions. Furthermore, the model tracked normal performances (with increased temporal variability) better than performances in which temporal fluctuations associated with individual voices were removed (with decreased variability). The small, systematic temporal irregularities characteristic of human performances (chord asynchronies) improved tracking, but randomly generated temporal irregularities did not. These findings suggest that perception of temporal regularity in complex musical sequences is based on temporal expectancies that adapt in response to temporally fluctuating input.

Limb versus Speech Motor Control: A Conceptual Review

“…In particular, the increase of timing variability with increasing mean duration (Wing & Kristofferson, 1973), that is also observed in the perception of durations (Ivry & Hazeltine, 1995), emerges naturally out of an oscillator account (Schöner, 2002). Such circuits also help understanding how timing is perceived (Ivry, 1996;Large & Palmer, 2002) and how timed actions may be linked to perceived external signals (Schöner, 1994). Franz et al (1992) provided evidence that timing processes involved in limb movements and those involved in speech movements overlap.…”

Do metrical accents create illusory phenomenal accents?

“…First, according to dynamic attention theory (Jones & Boltz, 1989;Large, 2001;Large & Jones, 1999;see also London, 2004), metrical accents may represent moments of heightened attention. A metrical structure is assumed to rest on entrained internal oscillators whose frequencies exhibit simple ratios, and metrical accents represent the moments when the oscillators come into phase with each other (Large & Palmer, 2002). The oscillators are assumed to control attentional energy, which is highest when a main beat is expected.…”

The Role of Sound Source Perception in Gestural Sound Description

“…For example, it has been found that music highly influences timing in motor be-haviors. In particular, experiments have shown that anticipations and asynchronies occurs in tapping task on beats [Large 2000;Large and Palmer 2002].…”