PRODUCTION AND SYNCHRONIZATION OF UNEVEN RHYTHMS AT FAST TEMPI

Abstract

THIS STUDY EXAMINED PRODUCTION and synchronization of eight uneven rhythms (set A: 2+3, 3+2; set B: 2+2+3, 2+3+2, 3+2+2; set C: 2+3+3, 3+2+3, 3+3+2) at rates that made it difficult to subdivide the component intervals into elementary metrical pulses. The main questions were how interval ratios would change as a function of tempo within this range, and whether metrical downbeat location (which distinguishes the rhythms within each set) would be reflected in any of the dependent measures. Musically trained participants tapped each rhythm cyclically in synchrony with an auditory template and then continued to tap in three ways: self-paced, paced by a sequence of downbeats, or paced by a rapid stream of isochronous subdivisions. Each task was carried out at eight tempi. The third task assessed the temporal limit of subdivision for these rhythms (about 6 Hz), which was exceeded by most tempi. Results showed that the mean long––short (3:2) interval ratio was already larger than 1.5 at the slowest tempo in rhythm sets A and B, and increased with tempo in sets B and C, but did not approach 2. Uneven rhythms thus can be produced without mental subdivision, but only with substantial enhancement of the contrast between long and short intervals. Metrical downbeat location had no reliable effect on interval ratios but was reflected in more forceful downbeat taps and in different alignments of taps with a pacing sequence. In general, effects of temporal grouping (between rhythm sets) outweighed those of metrical interpretation (within rhythm sets).

Perceiving the numerosity of rapidly occurring auditory events in metrical and nonmetrical contexts

“…Sequences of 5 or 7 events, however, cannot be subdivided into equal groups. If they are subdivided, they yield unequal groups, such as 2 3 or 3 2 for n 5, and 3 2 2 (or 3 4), 2 2 3 (or 4 3), or 2 3 2 for n 7 (London, 2004;Repp, London, & Keller, 2005). Subdivision into unequal groups, or implicit counting of larger groups without subdivision, may well make greater demands on cognitive resources than subdivision into equal groups.…”

Perception and production of linguistic and musical rhythm by Korean and English middle school students

“…Previous investigations of ratio perception as a function of tempo have shown that distortion of duration ratios increases at faster tempos (Repp et al, 2005) and that at fast tempos performed ratio can be well below target ratio (Collier and Wright, 1995). This interval distortion may relate to the beat discrimination threshold of 100 ms.…”

“…The abstract rhythmic experiments draw on previous studies of rhythmic tendencies in Western listeners, including a preference for small integer ratios in beat subdivision and binary metrical structure (e.g. Gabrielsson, 1987;Smith and Cuddy, 1989;Drake, 1993;Parncutt, 1994;Repp et al, 2005). This paper looks at the extent to which these tendencies apply to listeners from a different cultural and linguistic background.…”

Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences

“…In selective tapping tasks (1:n synchronization), however, performance is better when groups of isochronous tones can be subdivided evenly (e.g., 1:8 and 1:9 as opposed to 1:5 and 1:7), with best performance being achieved when duple, rather than triple subdivision is possible (Repp, 2007). Furthermore, when asked to tap along or reproduce nonisochronous sequences, participants perform better when the temporal structure is characterized by integer rather than non-integer duration ratios, e.g., 2:1 and 3:1 as opposed to 3:2 or 4:3 (Franěk, Radil, & Indra, 1988;Repp, London, & Keller, 2005). Finally, in rhythmic sequences that involve syncopation (as measured by the number of beats that are not explicitly marked by an event onset), performance accuracy decreases as the degree of syncopation increases (Fitch & Rosenfeld, 2007).…”