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.

Multiple temporal references in sensorimotor synchronization with metrical auditory sequences

“…These results are consistent with a hypothesis according to which all levels in a metrical hierarchy are monitored perceptually and serve as temporal references in phase correction or resetting. Such a hypothesis is part and parcel of a dynamic pattern formation approach to metrical structure, particularly that of Large (2000Large ( , 2001Large & Kolen, 1994;Large & Palmer, 2002). The results are in agreement with the empirical findings of , who used different types of perturbation in more complex rhythmic sequences, and with the preliminary findings of Repp (2002a).…”

“…The added assumption is that there can be more than one external reference in phase resetting. That assumption is naturally made in dynamic systems models of temporal entrainment based on weakly coupled nonlinear oscillators (Eck, 2002;Large, 2000Large, , 2001Large & Kolen, 1994;Large & Jones, 1999;Large & Palmer, 2002;McAuley & Jones, 2003). It is intuitively obvious that an isochronous pacing sequence will entrain not only an internal oscillator at the event frequency (1000/IOI) but also (within definite limits) oscillators at integer fractions of that frequency (1000/(2 · IOI), 1000/ (3 · IOI),...), one of which may function as the main beat frequency, and/or at integer multiples (2000/IOI, 3000/IOI, ...).…”

See what I hear? Beat perception in auditory and visual rhythms

“…However, modality differences in temporal resolution cannot explain why some temporal phenomena are elicited in certain modalities but not others. In particular, spontaneous perception of an underlying 'beat' [a perceived pulse that marks equally spaced points in time (Large and Palmer 2002;Nettl 2000)] in temporal sequences differs strongly between modalities. Perception of a beat occurs without effort in auditory sequences that have a regular temporal structure, such as periodically regular events occurring at particular points in time.…”

Syncopation as Transformation

“…IOIs existing in musical rhythm can elicit neural oscillations that resonate with the regularities in the rhythm (Large & Jones, 1999;Large & Kolen, 1994;Large & Palmer, 2002;Velasco & Large, 2011). These internal oscillations can be thought of as the embodiment of temporal expectations.…”

“…Edward W. Large and John F. Kolen (1994) proposed a model of several internal oscillators that track a number of periodicities in the auditory signal and combine them to track the meter. The model was later extended to account for more complex music examples with temporal irregularities (Large & Palmer, 2002).…”