Interdependence of movement amplitude and tempo during self-paced finger tapping: evaluation of a preferred velocity hypothesis.

This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g., the desired pace of walking or tempo of music). The preferred velocity hypothesis proposes that assessments of preferred tempo do not represent a pure time preference independent of spatial movement characteristics, but rather reflects a preference for an average movement velocity, predicting that preferred tempo will depend on movement amplitude. We tested this by having participants first perform a novel spontaneous motor amplitude (SMA) task in which they repetitively tapped their finger at their preferred amplitude without instructions about tapping tempo. Next, participants completed the spontaneous motor tempo (SMT) task in which they tapped their finger at their preferred tempo without instructions about tapping amplitude. Finally, participants completed a target amplitude version of the SMT task where they tapped at their preferred tempo at three target amplitudes (low, medium, and high). Participants (1) produced similar amplitudes and tempi regardless of instructions to produce either their preferred amplitude or preferred tempo, maintaining the same average movement velocity across SMA and SMT tasks and (2) altered their preferred tempo for different target amplitudes in the direction predicted by their estimated preferred velocity from the SMA and SMT tasks. Overall, results show the interdependence of movement amplitude and tempo in tapping assessments of preferred tempo.

Monkey see, monkey tap: mimicry of movement dynamics during coordinated tapping.

Common social behaviors, such as having a conversation, dancing, or playing a team sport, require precise interpersonal coordination of action. One question that emerges in research on interpersonal coordination is to what extent individuals implicitly mimic the spatial characteristics of movements for tasks that emphasize movement timing. To investigate this question, we conducted two experiments using an interpersonal synchronization-continuation tapping paradigm in which pairs of individuals tapped with their index finger on a table in synchrony with an auditory metronome and then continued tapping at the same tempo when the metronome stopped. Pairs of individuals tapped either together with the instruction to maintain synchrony with each other (interpersonal tapping) or tapped alone (solo tapping). Solo tapping conditions either occurred with their tapping partner present in the testing room (Experiment 1) or absent (Experiment 2). We used motion capture to examine both the spatial and temporal aspects of movement dynamics during task performance. In both experiments, participants implicitly mimicked subtle aspects of spatial elements of their partner's movements. The extent of finger extension (tap amplitude) and, in Experiment 1, duration of finger contact with the surface (dwell time) were correlated between tapping partners when they tapped together. In some cases, this spatial mimicry extended to solo tapping conditions, but only during solo tapping conditions that followed the interpersonal tapping task, and, to a lesser degree, when solo tapping after having observed the other participant solo tapping.

Expressive intent, ambiguity, and aesthetic experiences of music and poetry.

A growing number of studies are investigating the way that aesthetic experiences are generated across different media. Empathy with a perceived human artist has been suggested as a common mechanism [1]. In this study, people heard 30 s excerpts of ambiguous music and poetry preceded by neutral, positively valenced, or negatively valenced information about the composer's or author's intent. The information influenced their perception of the excerpts-excerpts paired with positive intent information were perceived as happier and excerpts paired with negative intent information were perceived as sadder (although across intent conditions, musical excerpts were perceived as happier than poetry excerpts). Moreover, the information modulated the aesthetic experience of the excerpts in different ways for the different excerpt types: positive intent information increased enjoyment and the degree to which people found the musical excerpts to be moving, but negative intent information increased these qualities for poetry. Additionally, positive intent information was judged to better match musical excerpts and negative intent information to better match poetic excerpts. These results suggest that empathy with a perceived human artist is indeed an important shared factor across experiences of music and poetry, but that other mechanisms distinguish the generation of aesthetic appreciation between these two media.