The meter of syncopated auditory polyrhythms

Handel, Stephen; Oshinsky, James S.

doi:10.3758/bf03206130

Cited by 76 publications

(80 citation statements)

References 7 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: 94%

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.

173

183

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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: 94%

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.

173

183

View full text Add to dashboard Cite

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“…can go on to establish metrical frameworks , but even those with complex ratios (e.g., 1:2.5, 1:3.5) can successfully form into groups and be processed with (admittedly lower) accuracy (Essens, 1986;Handel & Oshinsky, 1981), as well as learned implicitly (Schultz, Stevens, Keller, & Tillmann, 2013). Thus the sequence of durations in a rhythmic pattern has unique importance beyond its role in establishing a metre (Monahan, Kendall, & Carterette, 1987).…”

Section: Introductionmentioning

confidence: 99%

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Prince

2014

Journal of Experimental Psychology: Human Perception and Perfor

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The identity of a given melody resides in its sequence of pitches and durations, both of which exhibit surface details as well as structural properties. For the purposes of this research, pitch contour (pattern of ups and downs) served as pitch surface information, and tonality (musical key) as pitch structure; in the temporal dimension, surface information was the ordinal duration ratios of adjacent notes (rhythm), and metre (beat, or pulse) comprised the structure.Manipulating factorially the preservation or alteration of all of these forms of information in 17 novel melodies (typifying Western music) enabled measuring their effect on perceived melodic similarity. In Experiment 1, participants (N = 34, varied musical training) rated the perceived similarity of melody pairs transposed to new starting pitches. Rhythm was the largest contributor to perceived similarity, then contour, metre, and tonality. Experiment 2 used the same melodies but varied the tempo within a pair, and added a prefix of three chords, which oriented the listener to the starting pitch and tempo before the melody began. Now contour was the strongest influence on similarity ratings, followed by tonality, and then rhythm; metre was not significant. Overall, surface features influenced perceived similarity more than structural, but both had observable effects. The primary theoretical advances in melodic similarity research are that (1) the relative emphasis on pitch and temporal factors is flexible, (2) pitch and time functioned independently when manipulated factorially, regardless of which dimension is more influential, and (3) interactions between surface and structural information were unreliable and never occurred between dimensions.Running head: MELODIC SIMILARITY

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“…Research on rhythm perception using polyrhythms also offers some pointers on the influence of musical parameters. For example, in a study with polyrhythms combining two or three 2-, 3-, 4-, 5-, and 7-element pulse trains, Handel and his colleagues found that participants' choice of temporal structure varied based on the relative amplitude (loudness), frequency (pitch), and duration of the rhythmic events (Handel, 1984;Handel & Lawson, 1983;Handel & Oshinsky, 1981). At the slowest rate, participants tended to integrate events from superposed pulse trains ("cross-rhythms"), while faster rates yielded more isochronous tapping, with a preference for pulse trains of lower cardinality at the fastest rate.…”

Section: Previous Studiesmentioning

confidence: 99%

Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences

Poudrier

2018

EMR

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The tapping paradigm has played an important role in formulating beat induction models. However, experimental studies that make use of actual music as source materials to investigate pulse finding mechanisms in complex rhythmic sequences are lacking. The present study proposes to use the concept of mensural determinacy, that is, the emergence of temporal expectations that may or may not be realized (Hasty, 1997), to explore the relative salience of an implied beat in two contrasting rhythmic sequences extracted from Elliott Carter's 90+ for piano (1994), and test the influence of style-specific expertise on listeners' spontaneous tapping performance. The results of the experiment were consistent with the hypothesis that familiarity with the style represented by the source materials contributes to a more stable tapping period. In addition, although accent was found to have a main effect on tapping behavior, it also interacted with global temporal structure and a number of musical parameters and participant characteristics, including gender. Exploratory analyses of several additional musical parameters and participants' characteristics are also suggestive of how experimental methods could be complemented by post-hoc score analysis to investigate the contributions of specific factors to the relative influence of first-and second-order periodicity on musicians' beat percepts.

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The meter of syncopated auditory polyrhythms

Cited by 76 publications

References 7 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

Contributions of pitch contour, tonality, rhythm, and meter to melodic similarity.

Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences

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