Self-Generated Interval Subdivision Reduces Variability of Synchronization with a Very Slow Metronome

Abstract

SUBDIVISION BY COUNTING HAS BEEN SHOWN TO improve interval discrimination for durations exceeding 1.2 s (Grondin,Meilleur-Wells, & Lachance, 1999). The present study examined whether simple interval subdivision (bisection) reduces variability of synchronization with a slow metronome. Interval durations ranged from 1 s to 3.25 s.Musically trained participants tapped in synchrony with the metronome while: (1) refraining from any subdivision, (2) mentally bisecting each interval, (3) making additional taps at the bisection points (double tempo tapping), or (4) tapping only at the bisection points (anti-phase tapping). In each task, the standard deviation of asynchronies and intertap intervals was found to increase almost linearly with interval duration, but the slope decreased from condition 1 to condition 4. Differences among conditions were nearly absent with intervals of 1 s (roughly consistent with Grondin et al., 1999), but emerged and increased steadily as interval duration increased. In double tempo tapping, anti-phase taps were less variable than in-phase taps and depended less on the immediately preceding taps. The findings are interpreted in terms of multiple temporal references in synchronization, and their potential relevance to musical ensemble playing is pointed out.

Distortions in Reproduction of Two-Interval Rhythms: When the “Attractor Ratio” Is Not Exactly 1:2

“…Mental subdivision should have effects similar to overt subdivision by a tap, only smaller (cf. Repp, 2010). However, there was no USAR in the M2T3 condition, where a tap subdivided the long interval.…”

Sensorimotor synchronization: A review of recent research (2006–2012)

“…This increasingly greater stability of antiphase than of in-phase tapping was attributed to subdivision of the metronome IOIs by the antiphase taps. In a follow-up study with musicians, Repp (2010a) added two further conditions, one requiring mental subdivision of IOIs while tapping in phase with the metronome, and the other requiring 2:1 tapping, which can be considered a conflation of in-phase and antiphase tapping. In all 2 It was stated in R05 that musicians sometimes do not show an NMA at all.…”

The Tight-interlocked Rhythm Section: Production and Perception of Synchronisation in Jazz Trio Performance

“…Each ensemble improvised twice over the form of the three jazz songs. Previous research indicates that the incorporation of isochronic tones in the context of sensorimotor processing synchronisation studies, such as those stemming from a metronome, affect accent production (Billon & Semjen, 1995 ; Repp, 2005b ), synchrony (Repp, 2005a ), phase correction (Repp, 2008 ), and self-generated interval subdivision (Repp, 2010 ). Therefore, in order to glean authentic timing data, a metronome was not used throughout the performances.…”