Detecting perturbations in polyrhythms: effects of complexity and attentional strategies.

Jones et al. in Journal of Experimental Psychology Human Perception and Performance 21:293-307, 1995, showed that a temporal perturbation is easier to detect in a 3:2 polyrhythm than in a single-stream isochronous baseline condition if the two isochronous pulse streams forming the polyrhythm are perceptually integrated: integration creates shorter inter-onset interval (IOI) durations that facilitate perturbation detection. The present study examined whether this benefit of integration outweighs the potential costs imposed by the greater IOI heterogeneity and memory demands of more complex polyrhythms. In "Experiment 1", musically trained participants tried to detect perturbations in 3:5, 4:5, 6:5, and 7:5 polyrhythms having one of two different pitch separations between pulse streams, as well as in an isochronous baseline condition. "Experiment 2" included an additional 2:5 polyrhythm, additional pitch separations, and instructions to integrate or segregate the two pulse streams. In both experiments, perturbation detection scores for polyrhythms were below baseline, decreased as polyrhythm complexity increased, and tended to be lower at a smaller pitch separation, with little effect of instructions. Clearly, polyrhythm complexity was the main determinant of detection performance, which is attributed to the interval heterogeneity and/or memory demands of the pattern formed by the integrated pulse streams. In this task, perceptual integration was disadvantageous, but apparently could not be avoided.

Synchronization with competing visual and auditory rhythms: bouncing ball meets metronome.

Synchronization of finger taps with periodically flashing visual stimuli is known to be much more variable than synchronization with an auditory metronome. When one of these rhythms is the synchronization target and the other serves as a distracter at various temporal offsets, strong auditory dominance is observed. However, it has recently been shown that visuomotor synchronization improves substantially with moving stimuli such as a continuously bouncing ball. The present study pitted a bouncing ball against an auditory metronome in a target-distracter synchronization paradigm, with the participants being auditory experts (musicians) and visual experts (video gamers and ball players). Synchronization was still less variable with auditory than with visual target stimuli in both groups. For musicians, auditory stimuli tended to be more distracting than visual stimuli, whereas the opposite was the case for the visual experts. Overall, there was no main effect of distracter modality. Thus, a distracting spatiotemporal visual rhythm can be as effective as a distracting auditory rhythm in its capacity to perturb synchronous movement, but its effectiveness also depends on modality-specific expertise.

A general linear framework for the comparison and evaluation of models of sensorimotor synchronization.

Sensorimotor synchronization (SMS), the temporal coordination of a rhythmic movement with an external rhythm, has been studied most often in tasks that require tapping along with a metronome. Models of SMS use information about the timing of preceding stimuli and responses to predict when the next response will be made. This article compares the theoretical structure and empirical predictions of four two-parameter models proposed in the literature: Michon (Timing in temporal tracking, Van Gorcum, Assen, 1967), Hary and Moore (Br J Math Stat Psychol 40:109-124, 1987b), Mates (Biol Cybern 70:463-473, 1994a; Biol Cybern 70:475-484, 1994b), and Schulze et al. (Mus Percept 22:461-467, 2005). By embedding these models within a general linear framework, the mathematical equivalence of the Michon, Hary and Moore, and Schulze et al. models is demonstrated. The Mates model, which differs from the other three, is then tested empirically with new data from a tapping experiment in which the metronome alternated between two tempi. The Mates model predictions are found to be invalid for about one-third of the trials, suggesting that at least one of the model's underlying assumptions is incorrect. The other models cannot be refuted as easily, but they do not predict some features of the data very accurately. Comparison of the models' predictions in a training/test procedure did not yield any significant differences. The general linear framework introduced here may help in the formulation of new models that make better predictions.

Temporal evolution of the phase correction response in synchronization of taps with perturbed two-interval rhythms.

Human sensorimotor synchronization is flexible but subject to temporal constraints. Previous research has shown that musicians tend to lose synchrony with target tones in an isochronous sequence when the sequence rate exceeds 8-10 Hz, presumably because phase correction ceases to function. The present study investigated directly the time required for an immediate phase correction response (PCR). Musicians tapped in synchrony with cyclic two-interval (short-long) rhythms, using the two hands in alternation. Perturbations were applied to the long interval, and the compensatory shift of the next tap (the PCR) was measured following the short interval, whose duration was varied from 100 to 300 ms. The PCR was found to increase gradually within this range, being nearly absent at 100 ms. Similar results were obtained when participants tapped only with the second tone in each rhythmic group, which confirms that the PCR is based on the preceding tone rather than on the preceding tap-tone asynchrony, and also when the second tone was omitted in the pacing sequence, which indicates that the PCR occurs automatically even when there is no synchronization target for the critical tap. These results extend earlier findings regarding rate limits of synchronization and also provide further support for an event-based phase resetting account of the PCR.

No temporal binding of action consequences to actions in a rhythmic context.

Temporal binding (TB) refers to a subjective contraction of the time that elapses between an action and a delayed sensory consequence of it. The TB effect has been demonstrated primarily in tasks in which a key press triggers a tone after a short delay and in which participants judge the timing of one or both of these events relative to a visual reference (e.g., a rotating clock hand). In the present Experiments 1 and 2, musicians listened instead to an auditory "clock" (a metronome) and occasionally made a tap that triggered a delayed tone. The task was to judge whether that test tone fell before, on, or after the midpoint of the interval between two metronome tones. In a passive control condition, participants judged test tones but did not tap. The hypothesis was that the test tone would be perceived as occurring earlier in the active than in the passive condition. However, there was no difference in perceptual judgments. Experiment 3 used a visual metronome as the reference but again obtained negative results, despite greater uncertainty of judgments. It is suggested that TB of action consequences to actions does not occur when the reference signal is rhythmic because such a context enables participants (musicians, at least) to perceive and judge the actual time of occurrence of the action-triggered tone.

Altered sense of agency in schizophrenia and the putative psychotic prodrome.

The mechanisms underlying distortions in sense of agency, i.e. the experience of controlling one's own actions and their consequences, in schizophrenia are not fully understood and have barely been investigated in patients classified as being in a putative psychotic prodrome. This study aims to expound the contribution of early and late illness-related processes. Thirty schizophrenia patients, 30 putatively prodromal patients and 30 healthy controls were instructed to reproduce a computer-generated series of drum sounds on a drum pad. While tapping, subjects heard either their self-produced tones or a computer-controlled reproduction of the drum tone series that used either exactly the same, an accelerated or decelerated tempo. Subjects had to determine the source of agency. Results show similar significant impairments in assigning the source of agency under ambiguous conditions in schizophrenia and putatively prodromal patients and an exaggerated self-attribution bias, both of which were significantly correlated with increased (ego-)psychopathology. Patient groups, however, benefited significantly more than controls from additional sensorimotor cues to agency. Sensorimotor input seems to be a compensatory mechanism involved in correctly attributing agency. We deduce that altered awareness of agency may hold promise as an additional risk factor for psychosis.

Perception-production relationships and phase correction in synchronization with two-interval rhythms.

Two experiments investigated the effects of interval duration ratio on perception of local timing perturbations, accuracy of rhythm production, and phase correction in musicians listening to or tapping in synchrony with cyclically repeated auditory two-interval rhythms. Ratios ranged from simple (1:2) to complex (7:11, 5:13), and from small (5:13 = 0.38) to large (6:7 = 0.86). Rhythm production and perception exhibited similar ratio-dependent biases: rhythms with small ratios were produced with increased ratios, and timing perturbations in these rhythms tended to be harder to detect when they locally increased the ratio than when they reduced it. The opposite held for rhythms with large ratios. This demonstrates a close relation between rhythm perception and production. Unexpectedly, however, the neutral "attractor" was not the simplest ratio (1:2 = 0.50) but a complex ratio near 4:7 (= 0.57). Phase correction in response to perturbations was generally rapid and did not show the ratio-dependent biases observed in rhythm perception and production. Thus, phase correction operates efficiently and autonomously even in synchronization with rhythms exhibiting complex interval ratios.

Self versus other in piano performance: detectability of timing perturbations depends on personal playing style.

Differences between recorded repetitions of one's own movements are detected more readily than are differences between repetitions of others' movements, suggesting improved visual discrimination due to heightened resonance in the observer's action system and/or relatively accurate internal action simulation (Daprati et al. in Conscious Cogn 16:178-188, 2007). In Experiment 1, we attempted to replicate this finding in the auditory modality. Pianists were recorded playing musical excerpts three times and later judged whether pairs of recordings were the same take or different takes of the same excerpt. They were no better at distinguishing different takes of their own playing than those of other pianists' playing, even though discrimination and self-recognition were well above chance. In Experiment 2, the same pianists tried to detect small local timing deviations that had been introduced artificially. They were better at detecting such deviations in their own performances than in those of another pianist, but only if the deviations were placed at points of a pre-existing self-other difference in local timing. In that case, pianists' ability to predict their own characteristic action pattern did aid their perception of temporal irregularity. These results do not support the perceptual sharpening hypothesis of Daprati et al. in the musical domain, but they do suggest that pianists listening to performances generate idiosyncratic temporal expectations, probably through internal action simulation.

Context sensitivity and invariance in perception of octave-ambiguous tones.

Three experiments investigated the influence of unambiguous (UA) context tones on the perception of octave-ambiguous (OA) tones. In Experiment 1, pairs of OA tones spanning a tritone interval were preceded by pairs of UA tones instantiating a rising or falling interval between the same pitch classes. Despite the inherent ambiguity of OA tritone pairs, most participants showed little or no priming when judging the OA tritone as rising or falling. In Experiments 2 and 3, participants compared the pitch heights of single OA and UA tones representing either the same pitch class or being a tritone apart. These judgments were strongly influenced by the pitch range of the UA tones, but only slightly by the spectral center of the OA tones. Thus, the perceived pitch height of single OA tones is context sensitive, but the perceived relative pitch height of two OA tones, as described in previous research on the "tritone paradox," is largely invariant in UA tone contexts.

Multilevel coordination stability: integrated goal representations in simultaneous intra-personal and inter-agent coordination.

The influence of integrated goal representations on multilevel coordination stability was investigated in a task that required finger tapping in antiphase with metronomic tone sequences (inter-agent coordination) while alternating between the two hands (intra-personal coordination). The maximum rate at which musicians could perform this task was measured when taps did or did not trigger feedback tones. Tones produced by the two hands (very low, low, medium, high, and very high) could be the same as, or different from, one another and the (medium-pitched) metronome tones. The benefits of feedback tones were greatest when they were close in pitch to the metronome and the left hand triggered low tones, while the right hand triggered high tones. Thus, multilevel coordination was facilitated by tones that were easy to integrate with, but perceptually distinct from, the metronome, and by compatibility of movement patterns and feedback pitches.

Sensorimotor synchronization with adaptively timed sequences.

Most studies of human sensorimotor synchronization require participants to coordinate actions with computer-controlled event sequences that are unresponsive to their behavior. In the present research, the computer was programmed to carry out phase and/or period correction in response to asynchronies between taps and tones, and thereby to modulate adaptively the timing of the auditory sequence that human participants were synchronizing with, as a human partner might do. In five experiments the computer's error correction parameters were varied over a wide range, including "uncooperative" settings that a human synchronization partner could not (or would not normally) adopt. Musically trained participants were able to maintain synchrony in all these situations, but their behavior varied systematically as a function of the computer's parameter settings. Computer simulations were conducted to infer the human participants' error correction parameters from statistical properties of their behavior (means, standard deviations, auto- and cross-correlations). The results suggest that participants maintained a fixed gain of phase correction as long as the computer was cooperative, but changed their error correction strategies adaptively when faced with an uncooperative computer.

Multiple temporal references in sensorimotor synchronization with metrical auditory sequences.

A local phase perturbation in an auditory sequence during synchronized finger tapping elicits an automatic phase correction response (PCR). The stimulus for the PCR is usually considered to be the most recent tap-tone asynchrony. In this study, participants tapped on target tones ("beats") of isochronous tone sequences consisting of beats and subdivisions (1:n tapping). A phase perturbation was introduced either on a beat or on a subdivision. Both types of perturbation elicited a PCR, even though there was no asynchrony associated with a subdivision. Moreover, the PCR to a perturbed beat was smaller when an unperturbed subdivision followed than when there was no subdivision. The relative size of the PCRs to perturbed beats and subdivisions depended on tempo, on whether the subdivision was local or present throughout the sequence, and on whether or not participants engaged in mental subdivision, but not on whether or not taps were made on the subdivision level. The results show that phase correction in synchronization depends not merely on asynchronies but on perceptual monitoring of multiple temporal references within a metrical hierarchy.

Perfect phase correction in synchronization with slow auditory sequences.

Phase correction during synchronization (finger tapping) with an isochronous auditory sequence is typically imperfect, requiring several taps to complete. However, two independent hypotheses predict that phase correction should approach perfection when the sequence tempo is slow. The present results confirm this prediction. The experiment used a phase perturbation method and a group of musically trained participants. As the sequence interonset interval increased from 300 to 1200 ms, the phase correction response to perturbations increased and approached instantaneous phase resetting between 700 and 1200 ms, depending on the individual. A possible explanation of this finding is that emergent timing of the periodic finger movement vanishes as the movement frequency decreases and thus ceases to compete with event-based timing.

Hearing a melody in different ways: multistability of metrical interpretation, reflected in rate limits of sensorimotor synchronization.

Music commonly induces the feeling of a regular beat (i.e., a metrical structure) in listeners. However, musicians can also intentionally impose a beat (i.e., a metrical interpretation) on a metrically ambiguous passage. The present study aimed to provide objective evidence for this little-studied mental ability. Participants were prompted with musical notation to adopt different metrical interpretations of a cyclically repeated isochronous 12-note melody while tapping in synchrony with specified target tones in the melody. The target tones either coincided with the imposed beat (on-beat tapping) or did not (off-beat tapping). An adaptive staircase method was employed to determine the fastest tempo at which each synchronization task could be performed. For each metrical interpretation, a significant advantage for on-beat over off-beat tapping was obtained - except in a condition in which participants, instead of synchronizing, were in control of the target tones. By showing that a self-imposed beat can affect sensorimotor synchronization, the present results provide objective evidence for endogenous perceptual organization of metrical sequences. It is hypothesized that metrical interpretation rests upon covert rhythmic action.

Toward a psychophysics of agency: detecting gain and loss of control over auditory action effects.

Theories of agency--the feeling of being in control of one's actions and their effects--emphasize either perceptual or cognitive aspects. This study addresses both aspects simultaneously in a finger-tapping paradigm. The tasks required participants to detect when synchronization of their taps with computer-controlled tones changed to self-controlled production of tones, or the reverse. For comparison, the tone sequences recorded in these active tapping conditions were also presented in passive listening conditions, in which participants had to detect the transition from computer to human control, or vice versa. Signal detection theory was applied to separate sensitivity from bias. Sensorimotor cues to agency were found to increase sensitivity in the active conditions compared with the passive conditions, which provided only perceptual cues. Analysis of bias revealed a tendency to attribute action effects to self-control. Thus, judgments of agency rely on veridical sensorimotor cues but can also be subject to cognitive bias.

Does an auditory distractor sequence affect self-paced tapping?

This study investigated whether an auditory distractor (D) sequence affects the timing of self-paced finger tapping. To begin with, Experiment 1 replicated earlier findings by showing that, when taps are synchronized with an isochronous auditory target (T) sequence, an isochronous D sequence of different tempo and pitch systematically modulates the tap timing. The extent of the modulation depended on the relative intensity of the T and D tones, but not on their pitch distance. Experiment 2 then used a synchronization-continuation paradigm in which D sequences of different tempi were introduced only during continuation tapping. Although the D sequences rarely captured the taps completely, they did increase the tapping variability and deviations from the correct tempo. Furthermore, they eliminated the negative correlation between successive inter-tap intervals and led to intermittent phase locking when the tapping period was close to the period of the D sequence. These distractor effects occurred regardless of whether or not the taps generated auditory feedback tones. The distractor effects thus depend neither on the intention to synchronize with a T sequence nor on the simultaneous perception of two auditory sequences. Rather, they seem to reflect a basic attraction of rhythmic movement to auditory rhythms.

Sensorimotor synchronization: a review of the tapping literature.

Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, occurs in many contexts, but most conspicuously in music performance and dance. In the laboratory, it is most often studied in the form of finger tapping to a sequence of auditory stimuli. This review summarizes theories and empirical findings obtained with the tapping task. Its eight sections deal with the role of intention, rate limits, the negative mean asynchrony, variability, models of error correction, perturbation studies, neural correlates of SMS, and SMS in musical contexts. The central theoretical issue is considered to be how best to characterize the perceptual information and the internal processes that enable people to achieve and maintain SMS. Recent research suggests that SMS is controlled jointly by two error correction processes (phase correction and period correction) that differ in their degrees of cognitive control and may be associated with different brain circuits. They exemplify the general distinction between subconscious mechanisms of action regulation and conscious processes involved in perceptual judgment and action planning.

Automaticity and voluntary control of phase correction following event onset shifts in sensorimotor synchronization.

Seven experiments show that an event onset shift (EOS) in an auditory sequence causes an involuntary phase correction response (PCR) in synchronized finger tapping. This PCR is (a) equally large in inphase and antiphase tapping; (b) reduced but still present when the EOS occurs in either of two interleaved (target-distractor) sequences; (c) unaffected by increased pitch separation between these sequences; (d) asymptotic in magnitude as EOS magnitude increases, unlike the intentional PCR to expected phase shifts; and (e) enhanced when the EOS precedes the onset of tapping, because of phase resetting. Thus, phase correction is revealed to be partially automatic and partially under voluntary control, and to be based mainly on temporal information derived from simple onset detection.

Phase attraction in sensorimotor synchronization with auditory sequences: effects of single and periodic distractors on synchronization accuracy.

Four experiments showed that both single and periodic distractor tones affected the timing of finger taps produced in synchrony with an isochronous auditory target sequence. Single distractors had only small effects, but periodic distractors occurring at various fixed or changing phase relationships exerted strong phase attraction. The attraction was asymmetric, being stronger when distractors preceded target tones than when they lagged behind. A large pitch difference between target and distractor tones (20 vs. 3 semitones) did not reduce phase attraction substantially, although in the case of continuously changing phase relationships it did prevent complete capture of the taps by the distractors. The results support the hypothesis that phase attraction is an automatic process that is sensitive primarily to event onsets.

Auditory dominance in temporal processing: new evidence from synchronization with simultaneous visual and auditory sequences.

Evidence that audition dominates vision in temporal processing has come from perceptual judgment tasks. This study shows that this auditory dominance extends to the largely subconscious processes involved in sensorimotor coordination. Participants tapped their finger in synchrony with auditory and visual sequences containing an event onset shift (EOS), expected to elicit an involuntary phase correction response (PCR), and also tried to detect the EOS. Sequences were presented in unimodal and bimodal conditions, including one in which auditory and visual EOSs of opposite sign coincided. Unimodal results showed greater variability of taps, smaller PCRs, and poorer EOS detection in vision than in audition. In bimodal conditions, variability of taps was similar to that for unimodal auditory sequences, and PCRs depended more on auditory than on visual information, even though attention was always focused on the visual sequences.