Rhythms and responses.

Kolers, Paul Α.; Brewster, Joan M.

doi:10.1037/0096-1523.11.2.150

Cited by 134 publications

(135 citation statements)

References 42 publications

(67 reference statements)

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“…The few studies that have examined visual or tactile pacing signals reveal contradictory results. Kolers and Brewster (1985) report a reduction in asynchrony under conditions applying visual signals rather than clicks (and even positive asynchronies under conditions with very short intertap intervals), thus replicating earlier studies (Dunlap, 1910;Fraisse, 1948;Miyake, 1902).…”

Section: Manipulating Features Of the Pacing Signalsupporting

confidence: 72%

“…This means that the tap precedes the click by about 20 to 80 ms. This effect was described already more than 100 years ago (e.g., Dunlap, 1910;Johnson, 1898;Miyake, 1902) and has been replicated in a number of studies (e.g., Aschersleben & Prinz, 1995, 1997Fraisse, 1980;Kolers & Brewster, 1985;Mates, Müller, Radil, & Pöppel, 1994;Repp, 2000;Thaut, Tian, Azimi-Sadjadi, 1998;Vos, Mates, & van Kruysbergen, 1995, Wohlschläger & Koch, 2000.…”

Section: Fig 1 the Synchronization Taskmentioning

confidence: 96%

See 1 more Smart Citation

Temporal Control of Movements in Sensorimotor Synchronization

Aschersleben¹

2002

Brain and Cognition

343

287

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Under conditions in which the temporal structure of events (e.g., a sequence of tones) is predictable, performing movements in synchrony with this sequence of events (e.g., dancing) is an easy task. A rather simplified version of this task is studied in the sensorimotor synchronization paradigm. Participants are instructed to synchronize their finger taps with an isochronous sequence of signals (e.g., clicks). Although this is an easy task, a systematic error is observed: Taps usually precede clicks by several tens of milliseconds. Different models have been proposed to account for this effect (''negative asynchrony'' or ''synchronization error''). One group of explanations is based on the idea that synchrony is established at the level of central representations (and not at the level of external events), and that the timing of an action is determined by the (anticipated) action effect. These assumptions are tested by manipulating the amount of sensory feedback available from the tap as well as its temporal characteristics. This article presents an overview of these representational models and the empirical evidence supporting them. It also discusses other accounts briefly in the light of further evidence.The timing of actions can be analyzed by studying simple repetitive tasks in which participants are required to accompany a predictable stimulus with a simple movement. One such task is the synchronization task: Participants use, for example, their right index finger to tap on a key at a given rate (tapping task) with the beat being presented by a metronome. Performance on such synchronization tasks has been studied since Stevens in 1886 (see Fig. 1).Stevens, however, used the synchronization phase to establish a sequence of regular key presses. After some signals, the metronome was switched off and participants had to continue tapping at the same rate. He then examined regularity of the taps in this so-called continuation phase. Hence, such studies have analyzed mainly the size and variability of intertap intervals (see, for overviews, Miedreich, 2000;Vorberg & Wing, 1996).However, in the present context, we focus on the synchronization phase, and ask how precisely the tap can be timed relative to the click. The dependent variable in which we are then interested is the interval between the touch of the key and the presentation of the pacing signal. Although people think this task will be rather easy This research was supported partially by a grant from the Deutsche Forschungsgemeinschaft (SFB 462-99). I thank Jeff Summers and Ralf Krampe for helpful criticisms, suggestions, and comments on an earlier draft as well as Jonathan Harrow for suggestions on English style.

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Section: Manipulating Features Of the Pacing Signalsupporting

confidence: 72%

Section: Fig 1 the Synchronization Taskmentioning

confidence: 96%

Temporal Control of Movements in Sensorimotor Synchronization

Aschersleben¹

2002

Brain and Cognition

343

287

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“…When auditory feedback is present during ABS, the feedback tones triggered by taps may serve as self-generated anchoring events. Anchors linked to extrinsic acoustic information may facilitate coordination stability by enabling the actor to assess more precisely any deviations from the temporal goals because auditory event timing is perceived more accurately than visual event timing and more rapidly than tactile event timing (see Aschersleben, 2002;Grondin, 1993;Kolers & Brewster, 1985;Repp & Penel, 2002). The differences in ABS thresholds that we observed with different types of auditory feedback suggest that this facilitation varies with the type of information available at anchor points: Some anchors may be more secure than others.…”

Section: Integrated Task-goal Representationscontrasting

confidence: 38%

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

Keller¹,

Repp²

2008

Acta Psychologica

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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, 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. KeywordsMotor Coordination; Auditory Feedback; Perceptual Motor Processes; Finger Tapping Skilled human activity often involves precise temporal coordination at multiple levels. For example, in musical ensembles, performers coordinate their own body parts when manipulating instruments in order to produce sounds that are coordinated with the sounds of other performers. The intricate interlocking of instrumental parts in Balinese Gamelan music (especially in the kotekan style of playing) illustrates superbly how adept humans can become at such multilevel coordination. Here, and in more common activities such as dancing to music, there are two primary levels of coordination: (1) intra-personal -between an individual's own body parts (e.g., two hands or feet), and (2) inter-agent -between one's own actions and externally controlled events (e.g., another's actions or the effects thereof). 1 Keller and Repp (2004) investigated simultaneous intra-personal and inter-agent coordination using a task that requires the left and right hands to move in alternation (intra-personal Publisher's Disclaimer: This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript. The manuscript will undergo copyediting, typesetting, and review of the resulting proof before it is published in its final citable form. Please note that during the production process errors may be discovered which could affect the content, and all legal disclaimers that apply to the journal pertain. 1 The term 'inter-agent' is used rather than 'inter-personal' because many instances of coordination at this level, both in the laboratory (e.g., finger tapping in time with a metronome) and in the real world (synchronizing with computer-generated and/or recorded music), involve a human and a machine. NIH Public Access NIH-PA Author ManuscriptNIH-PA Author Manuscript NIH-PA Author Manuscript coordination) to produce finger taps at the midpoint between the tones of an auditory metronome (inter-agent coordination) (see Figure 1...

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“…However, given the absence of such e ects in Experiment 2, we can focus on kinesthetic a erents here. Although di erences between modalities in processing temporal information should not be dismissed (particularly between vision and audition, e.g., Kolers & Brewster, 1985), the notion of a common timing mechanism that is accessible from kinesthetic and visual a erents is a plausible and parsimonious explanation of our APT e ect. A key di erence to the following cross-modal explanations is that, during the visual test, no reference to kinesthetic signals needs to be invoked.…”

Section: Shared Representationsmentioning

confidence: 95%