Perceiving Temporal Regularity in Music: The Role of Auditory Event-Related Potentials (ERPs) in Probing Beat Perception

Honing, Henkjan; Bouwer, Fleur L.; Háden, Gábor P.

doi:10.1007/978-1-4939-1782-2_16

Cited by 42 publications

(47 citation statements)

References 106 publications

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“…Recently, Honing et al . found that, contrary to what was observed in human adults and infants, there were no significant differences in the mismatch negativity (an informative component of the event‐related potential measured on the skull) in response to omissions in beat positions versus offbeat positions. This lead to the conclusion that rhesus monkeys are unable to sense a beat.…”

Section: An Examplementioning

confidence: 76%

On the biological basis of musicality

Honing

2018

Annals of the New York Academy of Sciences

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In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology. A comparative study of musicality in humans and well-known animal models (monkeys, birds, pinnipeds) will further our insights on which features of musicality are exclusive to humans and which are shared between humans and nonhuman animals, contribute to an understanding of the musical phenotype, and further constrain existing evolutionary theories of music and musicality.

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Section: An Examplementioning

confidence: 76%

On the biological basis of musicality

Honing

2018

Annals of the New York Academy of Sciences

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“…Also, in parallel with speech, metricality, in the form of patterns of stressed and unstressed events, plays a critical role in shaping our perception of temporal patterns in music. Repeating metrical patterns of stress are quickly extracted by listeners, who use them to generate expectations about upcoming events . Electroencephalographic data suggest that these stress patterns are represented by neural oscillations and that these oscillations can persist even when an event at an expected temporal location is unexpectedly omitted .…”

Section: Temporal Patterning In Musicmentioning

confidence: 99%

Temporal modulation in speech, music, and animal vocal communication: evidence of conserved function

Filippi

Hoeschele

Spierings

et al. 2019

Annals of the New York Academy of Sciences

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Speech is a distinctive feature of our species. It is the default channel for language and constitutes our primary mode of social communication. Determining the evolutionary origins of speech is a challenging prospect, in large part because it appears to be unique in the animal kingdom. However, direct comparisons between speech and other forms of acoustic communication, both in humans (music) and animals (vocalization), suggest that important components of speech are shared across domains and species. In this review, we focus on a single aspect of speech—temporal patterning—examining similarities and differences across speech, music, and animal vocalization. Additional structure is provided by focusing on three specific functions of temporal patterning across domains: (1) emotional expression, (2) social interaction, and (3) unit identification. We hypothesize an evolutionary trajectory wherein the ability to identify units within a continuous stream of vocal sounds derives from social vocal interaction, which, in turn, derives from vocal emotional communication. This hypothesis implies that unit identification has parallels in music and precursors in animal vocal communication. Accordingly, we demonstrate the potential of comparisons between fundamental domains of biological acoustic communication to provide insight into the evolution of language.

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“…Studies of synchronised body movement in response to metronomes and music reveal the influence of a natural propensity, probably inborn (Honing, Bouwer & Háden, 2014), for frequencies in the vicinity of 2 Hz (Fraisse,1963;Nozaradan, Peretz, Missal & Mouraux, 2011;Nozaradan, Peretz & Mouraux, 2012;Repp & Su, 2013;Styns, van Noorden, Moelants & Leman, 2007;van Noorden & Moelants, 1999). This ability is indicative of resonances (neural or motor-based) (Large & Snyder, 2009;van Noorden & Moelants, 1999) …”

Section: Resonance: a Primitive Embodied Prediction Systemmentioning

confidence: 99%

Body, Sound and Space in Music and Beyond: Multimodal Explorations

Vickers

Hogg²,

Worrall³

2017

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Human interaction with music is based on the capacity to synchronise. In this chapter, we look at the principles behind this capacity and we consider its empowering effect. Synchronisation is central to many new developments in music research that gives body and space a prominent place. The human capacity to synchroniseA regular rhythm in music is a strong driver for establishing a synchronised human rhythm. Typically, a human rhythm tends to go along with the musical rhythm in such a way that a salient feature of the human rhythm matches the timing of a salient feature of the musical rhythm. For example, when we tap our finger on a desk, we can match it with the timing of a metronome tick and, when we walk, we can match the cadence of our footfall with the timing of the beat of the music. Salient moments of the rhythm (tap, footfall, beat) are markers for synchronisation. The performer uses them to establish a synchronised action, while the scientist employs them in order to study this particular type of action.But what are the underlying mechanisms behind music-to-movement synchronisation? And which effects does it generate? The goal of this chapter is to introduce and offer different views on the study of these underlying mechanisms, and to show how being locked to the beat of the music can pave the way for an overall empowerment effect, that is, the feeling that music affords energy and contributes to an increase in autonomy and self-determination. In this chapter, we present some recent theoretical and empirical work that focuses on movement rhythm such as walking, running, cycling and dancing. First, we introduce a theoretical umbrella perspective on synchronisation and embodied interaction with music. Then, we focus on some concrete studies that tell us something about the mechanisms of resonance, entrainment and emulation. Finally, we shed some light on possible empowering effects of music.

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Perceiving Temporal Regularity in Music: The Role of Auditory Event-Related Potentials (ERPs) in Probing Beat Perception

Cited by 42 publications

References 106 publications

On the biological basis of musicality

On the biological basis of musicality

Temporal modulation in speech, music, and animal vocal communication: evidence of conserved function

Body, Sound and Space in Music and Beyond: Multimodal Explorations

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