Multisensory Aspects of Rhythm

Fraisse, Paul

doi:10.1007/978-1-4615-9197-9_7

Cited by 15 publications

(12 citation statements)

References 41 publications

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“…This is consistent with Experiment 1 and suggests that there is no optimal timing for the 600-msec value. However, it does not exclude the possibility that an optimal timing may occur at some point between these values (Mishima, 1956, in Fraisse, 1981. 3 Finally, the duration effect for the CE indicated that the participants perceived comparison intervals as being longer than the standard more often at 900 msec than at 600 msec.…”

Section: Discussionmentioning

confidence: 99%

Discriminating time intervals presented in sequences marked by visual signals

Grondin

2001

Perception & Psychophysics

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Section: Discussionmentioning

confidence: 99%

Discriminating time intervals presented in sequences marked by visual signals

Grondin

2001

Perception & Psychophysics

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“…It might also be that there is a stronger coupling of perception and action in the MA domain than in the MV domain. It has been suggested that the auditory system is more strongly coupled to the motor system than the visual system [ 120 , 121 , 122 ]. Strong audio-motor coupling could then produce stronger "intentional binding" [ 80 ] for MA than MV.…”

Section: Discussionmentioning

confidence: 99%

Audio-motor but not visuo-motor temporal recalibration speeds up sensory processing

2017

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Perception of synchrony between one's own action (a finger tap) and the sensory feedback thereof (a visual flash or an auditory pip) can be recalibrated after exposure to an artificially inserted delay between them (temporal recalibration effect: TRE). TRE might be mediated by a compensatory shift of motor timing (when did I tap?) and/or the sensory timing of the feedback (when did I hear/see the feedback?). To examine this, we asked participants to voluntarily tap their index finger at a constant pace while receiving visual or auditory feedback (a flash or pip) that was either synced or somewhat delayed relative to the tap. Following this exposure phase, they then performed a simple reaction time (RT) task to measure the sensory timing of the exposure stimulus, and a sensorimotor synchronization (SMS) task (tapping in synchrony with a flash or pip as pacing stimulus) to measure the point of subjective synchrony between the tap and pacing stimulus. The results showed that after exposure to delayed auditory feedback, participants tapped earlier (~21.5 ms) relative to auditory pacing stimuli (= temporal recalibration) and reacted faster (~5.6 ms) to auditory stimuli. For visual exposure and test stimuli, there were no such compensatory effects. These results indicate that adjustments of audio-motor synchrony can to some extent be explained by a change in the speed of auditory sensory processing. We discuss this in terms of an attentional modulation of sensory processing.

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“…However, if spatial cues were available to support the distinctiveness of two isochronous visual sequences, for instance by using two adjacent light sources, parallel timing might possibly be promoted. Indeed, according to Fraisse (1981), the basic difference between auditory and visual rhythmic timing performances is likely to diminish when the temporal structure oflight signals is supported by a spatial structure. On the other hand, the auditory module appears to be able to handle two time criteria.…”

Section: Discussionmentioning

confidence: 99%

Stop—reaction time and the internal clock

Rousseau

1996

Perception & Psychophysics

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In a stop-reaction-time (stop-RT) task, a subject is presented with a regular, isochronous sequence of brief signals separated by a constant time interval, or stimulus onset asynchrony (SOA). His/her task is to press a response key as fast as possible when the sequence stops. As the sequence Unfolds, an internal representation of the SOAduration builds up. Stop-RT is assumed to be triggered when an internal clock, operating as an "alarm clock," reaches a time criterion. Criterion setting is contingent upon variability in the SONs internal representation. In Experiment lA, stop-RT was measured for isochronous sequences ofbrieftones, light flashes, and also sequences of tones and flashes presented in regular alternation (tone-light-tone ...). Stop-RT was a linear function of SOA duration (ranging from 250 to 1,000msec), regardless of modality, supporting a "central-clock" hypothesis. On the other hand, taken together, the results of Experiments lA, 1B, 2, and 3 suggest that no internal representation of the bimodal (tone-light) SOA of alternating sequences builds up. Indeed, an alternating sequence is physically equivalent to two interlaced isochronous subsequences, one auditory and one visual. So, two internal representations, one for the auditory (tone-tone) and one for the visual (light-light) SOA, could build up, and two time criteria running "in parallel" could thus support stop-RT. To provide a critical test of parallel timing, stop-RT was measured for bimodal 5:3 polyrhythms formed by the superposition of auditory and visual isochronous sequences that had different SOAdurations (Experiment 4). Parallel timing accounted for a large proportion of variance in polyrhythmic stop-RT data. Overall findings can be accounted for by assuming a functional architecture of an internal clock in which pulses emitted by a central pacemaker are available in parallel with two modalityspecific switch-accumulator "timing modules."

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Multisensory Aspects of Rhythm

Cited by 15 publications

References 41 publications

Discriminating time intervals presented in sequences marked by visual signals

Discriminating time intervals presented in sequences marked by visual signals

Audio-motor but not visuo-motor temporal recalibration speeds up sensory processing

Stop—reaction time and the internal clock

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