The influence of metricality and modality on synchronization with a beat

Patel, Aniruddh D.; Iversen, John R.; Chen, Yanqing; Repp, Bruno H.

doi:10.1007/s00221-004-2159-8

Cited by 269 publications

(290 citation statements)

References 58 publications

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“…Unlike single-interval mechanisms being based on absolute duration, those additional mechanisms would use the presence of a regular beat as an alternative reference frame for the timing of intervals relative to the beat. Psychophysical data from previous studies in normals support a dissociation between mechanisms for duration-based as opposed to beat-based timing of intervals and rhythmic sequences (20,21,32,(34)(35)(36)(37)(38). The preservation of relative timing tasks is not consistent with the idea that the cerebellum provides a single mechanism subserving both single-interval and beat-based timing; rather, the data suggest one or more mechanisms of perceptual entrainment with a regular beat that are independent of single-interval timing and can occur despite cerebellar damage.…”

Section: Discussionmentioning

confidence: 89%

Dissociation of duration-based and beat-based auditory timing in cerebellar degeneration

Grube

Cooper

Chinnery

et al. 2010

Proc. Natl. Acad. Sci. U.S.A.

165

174

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This work tests the hypothesis that the cerebellum is critical to the perception of the timing of sensory events. Auditory tasks were used to assess two types of timing in a group of patients with a stereotyped specific degeneration of the cerebellum: the analysis of single time intervals requiring absolute measurements of time, and the holistic analysis of rhythmic patterns based on relative measures of time using an underlying regular beat. The data support a specific role for the cerebellum only in the absolute timing of single subsecond intervals but not in the relative timing of rhythmic sequences with a regular beat. The findings support the existence of a stopwatch-like cerebellar timing mechanism for absolute intervals that is distinct from mechanisms for entrainment with a regular beat.T he relevance of the human cerebellum to the perception of time intervals and rhythmic sequences is controversial. Involvement of the cerebellum in perceptual timing (the perception of the timing of sensory events), in addition to its role in motor timing (the timed execution of movements), has been suggested by a number of studies (1-6). One distinction that we wish to address here, which has not been made clear in previous work, is between the absolute, duration-based timing of single subsecond intervals and the relative timing of subsecond intervals based on a regular beat. Functional imaging studies suggest neural activity in the human cerebellum during the perception of the absolute duration of single time intervals (7,8) as well as rhythmic patterns with a regular beat (9-13). However, previous lesion work to assess an obligatory cerebellar role in the perception of single time intervals has not yielded consistent results (4,(14)(15)(16)(17). Previous lesion work to assess any obligatory role of the cerebellum in the analysis of rhythmic sequences has assessed only deficits in related motor activity, such as tapping out a beat (4,14,18), that do not allow clear inference about perception.In this study, we test whether the cerebellum is a critical substrate for perceptual tasks that require the absolute, durationbased analysis of single time intervals as well as those that require the relative analysis of time intervals within rhythmic patterns based on a regular beat. Perceptual tests were conducted in the auditory domain, where accurate temporal encoding of sensory events is essential and entrainment with a beat is induced naturally. Tasks were administered to a group of 34 patients with a stereotyped cerebellar degeneration and a matched control group of 40 healthy individuals. Two absolute timing tasks tested the perception of single intervals for a variable and a fixed reference duration, respectively ( Fig. 1 A and B). Three relative timing tasks tested the beat-based analysis of rhythmic sequences, including the detection of the presence of a roughly regular beat (19), a deviation from an isochronous beat (20) and a distortion of a rhythmic pattern with a metrical beat (21) (Fig. 1 C-E). The data support a ce...

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Section: Discussionmentioning

confidence: 89%

Dissociation of duration-based and beat-based auditory timing in cerebellar degeneration

Grube

Cooper

Chinnery

et al. 2010

Proc. Natl. Acad. Sci. U.S.A.

165

174

View full text Add to dashboard Cite

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“…It has repeatedly been shown that performance on rhythmic timing and synchronization tasks are much poorer when the cues are discrete visual stimuli (e.g., flashing lights) versus discrete auditory stimuli (e.g., clicks or brief tones--for a summary see Repp 2005; see also Patel, Iversen, Chen, & Repp 2005). Similarly, flashes do not give rise to a strong sense of beat (McAuley & Henry 2010), and different brain regions have been shown to be involved with discrete visual as opposed to discrete auditory stimuli (Grahn, Henry, & McAuley 2011;Hove, Fairhurst, Kotz, & Keller 2013).…”

Section: Introductionmentioning

confidence: 99%

Speed on the dance floor: Auditory and visual cues for musical tempo

et al. 2016

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Musical tempo is most strongly associated with the rate of the beat or "tactus," which may be defined as the most prominent rhythmic periodicity present in the music, typically in a range of 1.67-2hz. However, other factors such as rhythmic density, mean rhythmic inter-onset interval, metrical (accentual) structure, and rhythmic complexity can affect perceived tempo (Drake, Gros, & Penel 1999;London 2011). Visual information can also give rise to a perceived beat/tempo (Iversen, et al. 2015), and auditory and visual temporal cues can interact and mutually influence each other (Soto-Faraco & Kingston 2004;Spence 2015). A five-part experiment was performed to assess the integration of auditory and visual information in judgments of musical tempo. Participants rated the speed of six classic R&B songs on a seven point scale while observing an animated figure dancing to them. Participants were presented with original and time-stretched (±5%) versions of each song in audio-only, audio+video (A+V), and video-only conditions. In some videos the animations were of spontaneous movements to the different time-stretched versions of each song, and in other videos the animations were of "vigorous" versus "relaxed" interpretations of the same auditory stimulus. Two main results were observed. First, in all conditions with audio, even though participants were able to correctly rank the original vs. timestretched versions of each song, a song-specific tempo-anchoring effect was observed, such that sped-up versions of slower songs were judged to be faster than slowed-down versions of faster songs, even when their objective beat rates were the same. Second, when viewing a vigorous dancing figure in the A+V condition, participants gave faster tempo ratings than from the audio alone or when viewing the same audio with a relaxed dancing figure. The implications of this illusory tempo percept for cross-modal sensory integration and working memory are discussed, and an "energistic" account of tempo perception is proposed.

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“…Summarizing, sound seems to be an ideal synchronization device with its unique influence on human beings to drive rhythmic and metrically organized motor behaviour (Patel et al, 2005). The interaction between auditory stimuli and motor reaction becomes evident when people intuitively and often spontaneously, tap or clap to the rhythmic pattern of a musical piece.…”

Section: Introductionmentioning

confidence: 99%

An investigation of online acoustic information for elite rowers in on-water training conditions

Schaffert¹,

Mattes²,

Effenberg³

2011

JHSE

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Schaffert N, Mattes K, Effenberg AO. An investigation of online acoustic information for elite rowers in onwater training conditions. J. Hum. Sport Exerc. Vol. 6, No. 2, pp. 392-405, 2011. Presenting acoustic information has become increasingly interesting for technique training and control in various sports. In elite rowing, acoustic feedback is a new and promising application to optimize the boat's forward motion. This paper describes the potential of acoustic information which represents the movement-relevant information on the boat's forward motion for rowing and its implementation as online acoustic feedback during on-water training sessions. The first significant results were encouraging and support the intention to implement the acoustic information regularly into training processes for elite athletes.

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The influence of metricality and modality on synchronization with a beat

Cited by 269 publications

References 58 publications

Dissociation of duration-based and beat-based auditory timing in cerebellar degeneration

Dissociation of duration-based and beat-based auditory timing in cerebellar degeneration

Speed on the dance floor: Auditory and visual cues for musical tempo

An investigation of online acoustic information for elite rowers in on-water training conditions

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