Dataset Information

Rhythmic tapping to a moving beat motion kinematics overrules natural gravity.

ABSTRACT: Beat induction is the cognitive ability that allows humans to listen to a regular pulse in music and move in synchrony with it. Although auditory rhythmic cues induce more consistent synchronization than flashing visual metronomes, this auditory-visual asymmetry can be canceled by visual moving stimuli. Here, we investigated whether the naturalness of visual motion or its kinematics could provide a synchronization advantage over flashing metronomes. Subjects were asked to tap in sync with visual metronomes defined by vertically accelerating/decelerating motion, either congruent or not with natural gravity; horizontally accelerating/decelerating motion; or flashing stimuli. We found that motion kinematics was the predominant factor determining rhythm synchronization, as accelerating moving metronomes in any cardinal direction produced more precise and predictive tapping than decelerating or flashing conditions. Our results support the notion that accelerating visual metronomes convey a strong sense of beat, as seen in the cueing movements of an orchestra director.

SUBMITTER: Perez O

PROVIDER: S-EPMC10517406 | biostudies-literature | 2023 Sep

REPOSITORIES: biostudies-literature

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Rhythmic tapping to a moving beat motion kinematics overrules natural gravity.

Pérez Oswaldo O Delle Monache Sergio S Lacquaniti Francesco F Bosco Gianfranco G Merchant Hugo H

iScience 20230822 9

Beat induction is the cognitive ability that allows humans to listen to a regular pulse in music and move in synchrony with it. Although auditory rhythmic cues induce more consistent synchronization than flashing visual metronomes, this auditory-visual asymmetry can be canceled by visual moving stimuli. Here, we investigated whether the naturalness of visual motion or its kinematics could provide a synchronization advantage over flashing metronomes. Subjects were asked to tap in sync with visual ...[more]

PMID: 37744410

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Project description:ObjectivesThe study aims to better understand the rhythmic abilities of people who stutter and to identify which processes potentially are impaired in this population: (1) beat perception and reproduction; (2) the execution of movements, in particular their initiation; (3) sensorimotor integration.Material and methodFinger tapping behavior of 16 adults who stutter (PWS) was compared with that of 16 matching controls (PNS) in five rhythmic tasks of various complexity: three synchronization tasks - a simple 1:1 isochronous pattern, a complex non-isochronous pattern, and a 4 tap:1 beat isochronous pattern -, a reaction task to an aperiodic and unpredictable pattern, and a reproduction task of an isochronous pattern after passively listening.ResultsPWS were able to reproduce an isochronous pattern on their own, without external auditory stimuli, with similar accuracy as PNS, but with increased variability. This group difference in variability was observed immediately after passive listening, without prior motor engagement, and was not enhanced or reduced after several seconds of tapping. Although PWS showed increased tapping variability in the reproduction task as well as in synchronization tasks, this timing variability did not correlate significantly with the variability in reaction times or tapping force. Compared to PNS, PWS exhibited larger negative mean asynchronies, and increased synchronization variability in synchronization tasks. These group differences were not affected by beat hierarchy (i.e., "strong" vs. "weak" beats), pattern complexity (non-isochronous vs. isochronous) or presence versus absence of external auditory stimulus (1:1 vs. 1:4 isochronous pattern). Differences between PWS and PNS were not enhanced or reduced with sensorimotor learning, over the first taps of a synchronization task.ConclusionOur observations support the hypothesis of a deficit in neuronal oscillators coupling in production, but not in perception, of rhythmic patterns, and a larger delay in multi-modal feedback processing for PWS.

Project description:Musical performers synchronize to each other despite differences in sound-onset timings which reflect each musician's sense of the beat. A dynamical system of Kuramoto oscillators can simulate this spread of onsets at varying levels of temporal alignment with a variety of tempo and sound densities which also influence individual abilities for beat extraction. Here, we examined how people's sense of beat emerges when tapping with Kuramoto oscillators of varying coupling strengths which distribute onsets around periodic moments in time. We hypothesized that people tap regularly close to the sound onset density peaks when coupling is strong. When weaker coupling produces multiple inter-onset intervals that are more widely spread, people may interpret their variety and distributions differently in order to form a sense of beat. Experiment 1 with a small in-person cohort indeed showed a few individuals who responded with high frequency tapping to slightly weak coupled stimuli although the rest found regular beats. Experiment 2 with a larger on-line cohort revealed three groups based on characteristics of inter-tap-intervals analyzed by k-means clustering, namely a Regular group (about 1/3 of the final sample) with the most robust beat extraction, Fast group (1/6) who maintained frequent tapping except for the strongest coupling, and Hybrid group (1/2) who maintained beats except for the weakest coupling. Furthermore, the adaptation time course of tap interval variability was slowest in Regular group. We suggest that people's internal criterion for forming beats may involve different perceptual timescales where multiple stimulus intervals could be integrated or processed sequentially as is, and that the highly frequent tapping may reflect their approach in actively seeking synchronization. Our study provides the first documentation of the novel limits of sensorimotor synchronization and individual differences using coupled oscillator dynamics as a generative model of collective behavior.

Project description:The structures of musical rhythm differ between cultures, despite the fact that the ability to entrain movement to musical rhythm occurs in virtually all individuals across cultures. To measure the influence of culture on rhythm processing, we tested East African and North American adults on perception, production, and beat tapping for rhythms derived from East African and Western music. To assess rhythm perception, participants identified whether pairs of rhythms were the same or different. To assess rhythm production, participants reproduced rhythms after hearing them. To assess beat tapping, participants tapped the beat along with repeated rhythms. We expected that performance in all three tasks would be influenced by the culture of the participant and the culture of the rhythm. Specifically, we predicted that a participant's ability to discriminate, reproduce, and accurately tap the beat would be better for rhythms from their own culture than for rhythms from another culture. In the rhythm discrimination task, there were no differences in discriminating culturally familiar and unfamiliar rhythms. In the rhythm reproduction task, both groups reproduced East African rhythms more accurately than Western rhythms, but East African participants also showed an effect of cultural familiarity, leading to a significant interaction. In the beat tapping task, participants in both groups tapped the beat more accurately for culturally familiar than for unfamiliar rhythms. Moreover, there were differences between the two participant groups, and between the two types of rhythms, in the metrical level selected for beat tapping. The results demonstrate that culture does influence the processing of musical rhythm. In terms of the function of musical rhythm, our results are consistent with theories that musical rhythm enables synchronization. Musical rhythm may foster musical cultural identity by enabling within-group synchronization to music, perhaps supporting social cohesion.

Dataset Information

Rhythmic tapping to a moving beat motion kinematics overrules natural gravity.

Publications

Rhythmic tapping to a moving beat motion kinematics overrules natural gravity.

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