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Li Y, Ye B, Bao Y. The same phase creates a unique visual rhythm unifying moving elements in time. Psych J 2023; 12:500-506. [PMID: 36916772 DOI: 10.1002/pchj.636] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [Key Words] [MESH Headings] [Grants] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/31/2022] [Accepted: 12/02/2022] [Indexed: 03/16/2023]
Abstract
Attention can be selectively tuned to particular features at different spatial locations or objects. The deployment of attention can be guided by properties, such as color, orientation, and so forth, as guiding features. What might be such guiding features for visual stimuli under dynamic rhythmic conditions? We asked specifically what might be the parameters that attract attention when perceiving a visual rhythm. We used a visual search paradigm, in which a dynamic search display consisted of vertically "bouncing balls" with regular rhythms. The search target was defined by a unique visual rhythm (i.e., with either a shorter or longer period) among rhythmic distractors sharing an identical period. We modulated amplitudes and phases of the distractor balls systematically. The results showed a crucial factor of the phase, not the amplitude. If the phase is violated, the target suddenly "pops out" as an "oddball," showing an efficient parallel search. The findings indicate in general the essential role of the phase in conjunction with amplitude and period for visual rhythm perception. Furthermore, a higher saliency of moving objects with a higher frequency component has also been disclosed.
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Affiliation(s)
- Yao Li
- School of Psychological and Cognitive Sciences, Peking University, Beijing, China
- Peking-Tsinghua Center for Life Sciences, Peking University, Beijing, China
| | - Biyi Ye
- School of Psychological and Cognitive Sciences, Peking University, Beijing, China
| | - Yan Bao
- School of Psychological and Cognitive Sciences, Peking University, Beijing, China
- Institute of Medical Psychology, Ludwig Maximilian University Munich, Munich, Germany
- Beijing Key Laboratory of Behavior and Mental Health, Peking University, Beijing, China
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2
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Listeners are sensitive to the speech breathing time series: Evidence from a gap detection task. Cognition 2022; 225:105171. [DOI: 10.1016/j.cognition.2022.105171] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/24/2021] [Revised: 04/29/2022] [Accepted: 05/11/2022] [Indexed: 11/23/2022]
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3
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Heins N, Pomp J, Kluger DS, Vinbrüx S, Trempler I, Kohler A, Kornysheva K, Zentgraf K, Raab M, Schubotz RI. Surmising synchrony of sound and sight: Factors explaining variance of audiovisual integration in hurdling, tap dancing and drumming. PLoS One 2021; 16:e0253130. [PMID: 34293800 PMCID: PMC8298114 DOI: 10.1371/journal.pone.0253130] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/02/2020] [Accepted: 05/31/2021] [Indexed: 11/18/2022] Open
Abstract
Auditory and visual percepts are integrated even when they are not perfectly temporally aligned with each other, especially when the visual signal precedes the auditory signal. This window of temporal integration for asynchronous audiovisual stimuli is relatively well examined in the case of speech, while other natural action-induced sounds have been widely neglected. Here, we studied the detection of audiovisual asynchrony in three different whole-body actions with natural action-induced sounds–hurdling, tap dancing and drumming. In Study 1, we examined whether audiovisual asynchrony detection, assessed by a simultaneity judgment task, differs as a function of sound production intentionality. Based on previous findings, we expected that auditory and visual signals should be integrated over a wider temporal window for actions creating sounds intentionally (tap dancing), compared to actions creating sounds incidentally (hurdling). While percentages of perceived synchrony differed in the expected way, we identified two further factors, namely high event density and low rhythmicity, to induce higher synchrony ratings as well. Therefore, we systematically varied event density and rhythmicity in Study 2, this time using drumming stimuli to exert full control over these variables, and the same simultaneity judgment tasks. Results suggest that high event density leads to a bias to integrate rather than segregate auditory and visual signals, even at relatively large asynchronies. Rhythmicity had a similar, albeit weaker effect, when event density was low. Our findings demonstrate that shorter asynchronies and visual-first asynchronies lead to higher synchrony ratings of whole-body action, pointing to clear parallels with audiovisual integration in speech perception. Overconfidence in the naturally expected, that is, synchrony of sound and sight, was stronger for intentional (vs. incidental) sound production and for movements with high (vs. low) rhythmicity, presumably because both encourage predictive processes. In contrast, high event density appears to increase synchronicity judgments simply because it makes the detection of audiovisual asynchrony more difficult. More studies using real-life audiovisual stimuli with varying event densities and rhythmicities are needed to fully uncover the general mechanisms of audiovisual integration.
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Affiliation(s)
- Nina Heins
- Department of Psychology, University of Muenster, Muenster, Germany
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
| | - Jennifer Pomp
- Department of Psychology, University of Muenster, Muenster, Germany
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
| | - Daniel S. Kluger
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
- Institute for Biomagnetism and Biosignal Analysis, University Hospital Muenster, Muenster, Germany
| | - Stefan Vinbrüx
- Institute of Sport and Exercise Sciences, Human Performance and Training, University of Muenster, Muenster, Germany
| | - Ima Trempler
- Department of Psychology, University of Muenster, Muenster, Germany
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
| | - Axel Kohler
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
| | - Katja Kornysheva
- School of Psychology and Bangor Neuroimaging Unit, Bangor University, Wales, United Kingdom
| | - Karen Zentgraf
- Department of Movement Science and Training in Sports, Institute of Sport Sciences, Goethe University Frankfurt, Frankfurt, Germany
| | - Markus Raab
- Institute of Psychology, German Sport University Cologne, Cologne, Germany
- School of Applied Sciences, London South Bank University, London, United Kingdom
| | - Ricarda I. Schubotz
- Department of Psychology, University of Muenster, Muenster, Germany
- Otto Creutzfeldt Center for Cognitive and Behavioral Neuroscience, University of Muenster, Muenster, Germany
- * E-mail:
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4
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Khan O, Ahmed I, Cottingham J, Rahhal M, Arvanitis TN, Elliott MT. Timing and correction of stepping movements with a virtual reality avatar. PLoS One 2020; 15:e0229641. [PMID: 32109252 PMCID: PMC7048307 DOI: 10.1371/journal.pone.0229641] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.8] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 06/10/2019] [Accepted: 02/11/2020] [Indexed: 12/17/2022] Open
Abstract
Research into the ability to coordinate one's movements with external cues has focussed on the use of simple rhythmic, auditory and visual stimuli, or interpersonal coordination with another person. Coordinating movements with a virtual avatar has not been explored, in the context of responses to temporal cues. To determine whether cueing of movements using a virtual avatar is effective, people's ability to accurately coordinate with the stimuli needs to be investigated. Here we focus on temporal cues, as we know from timing studies that visual cues can be difficult to follow in the timing context. Real stepping movements were mapped onto an avatar using motion capture data. Healthy participants were then motion captured whilst stepping in time with the avatar's movements, as viewed through a virtual reality headset. The timing of one of the avatar step cycles was accelerated or decelerated by 15% to create a temporal perturbation, for which participants would need to correct to, in order to remain in time. Step onset times of participants relative to the corresponding step-onsets of the avatar were used to measure the timing errors (asynchronies) between them. Participants completed either a visual-only condition, or auditory-visual with footstep sounds included, at two stepping tempo conditions (Fast: 400ms interval, Slow: 800ms interval). Participants' asynchronies exhibited slow drift in the Visual-Only condition, but became stable in the Auditory-Visual condition. Moreover, we observed a clear corrective response to the phase perturbation in both the fast and slow tempo auditory-visual conditions. We conclude that an avatar's movements can be used to influence a person's own motion, but should include relevant auditory cues congruent with the movement to ensure a suitable level of entrainment is achieved. This approach has applications in physiotherapy, where virtual avatars present an opportunity to provide the guidance to assist patients in adhering to prescribed exercises.
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Affiliation(s)
- Omar Khan
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
| | - Imran Ahmed
- Warwick Medical School, University of Warwick, Coventry, United Kingdom
| | - Joshua Cottingham
- Department of Computer Science, University of Warwick, Coventry, United Kingdom
| | - Musa Rahhal
- School of Engineering, University of Warwick, Coventry, United Kingdom
| | - Theodoros N. Arvanitis
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
| | - Mark T. Elliott
- Warwick Manufacturing Group, Institute of Digital Healthcare, University of Warwick, Coventry, United Kingdom
- * E-mail:
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5
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Takehana A, Uehara T, Sakaguchi Y. Audiovisual synchrony perception in observing human motion to music. PLoS One 2019; 14:e0221584. [PMID: 31454393 PMCID: PMC6711538 DOI: 10.1371/journal.pone.0221584] [Citation(s) in RCA: 0] [Impact Index Per Article: 0] [Reference Citation Analysis] [Abstract] [MESH Headings] [Grants] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/17/2019] [Accepted: 08/09/2019] [Indexed: 11/18/2022] Open
Abstract
To examine how individuals perceive synchrony between music and body motion, we investigated the characteristics of synchrony perception during observation of a Japanese Radio Calisthenics routine. We used the constant stimuli method to present video clips of an individual performing an exercise routine. We generated stimuli with a range of temporal shifts between the visual and auditory streams, and asked participants to make synchrony judgments. We then examined which movement-feature points agreed with music beats when the participants perceived synchrony. We found that extremities (e.g., hands and feet) reached the movement endpoint or moved through the lowest position at music beats associated with synchrony. Movement onsets never agreed with music beats. To investigate whether visual information about the feature points was necessary for synchrony perception, we conducted a second experiment where only limited portions of video clips were presented to the participants. Participants consistently judged synchrony even when the video image did not contain the critical feature points, suggesting that a prediction mechanism contributes to synchrony perception. To discuss the meaning of these feature points with respect to synchrony perception, we examined the temporal relationship between the motion of body parts and the ground reaction force (GRF) of exercise performers, which reflected the total force acting on the performer. Interestingly, vertical GRF showed local peaks consistently synchronized with music beats for most exercises, with timing that was closely correlated with the timing of movement feature points. This result suggests that synchrony perception in humans is based on some global variable anticipated from visual information, instead of the feature points found in the motion of individual body parts. In summary, the present results indicate that synchrony perception during observation of human motion to music depends largely on spatiotemporal prediction of the performer's motion.
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Affiliation(s)
- Akira Takehana
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Tsukasa Uehara
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
| | - Yutaka Sakaguchi
- Department of Mechanical Engineering and Intelligent Systems, Graduate School of Informatics and Engineering, University of Electro-Communications, Chofu, Tokyo, Japan
- Research Center for Performance Art Science, University of Electro-Communications, Chofu, Tokyo, Japan
- * E-mail:
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6
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Huang Y, Gu L, Yang J, Zhong S, Wu X. Relative Contributions of the Speed Characteristic and Other Possible Ecological Factors in Synchronization to a Visual Beat Consisting of Periodically Moving Stimuli. Front Psychol 2018; 9:1226. [PMID: 30072936 PMCID: PMC6058225 DOI: 10.3389/fpsyg.2018.01226] [Citation(s) in RCA: 4] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/03/2017] [Accepted: 06/27/2018] [Indexed: 11/13/2022] Open
Abstract
Daily music experience involves synchronizing movements in time with a perceived periodic beat. Contrary to the auditory-specific view of beat synchronization, synchronization to a visual beat composed of a periodically bouncing ball has been shown to be not less stable than synchronization to auditory beats. The ecological relevance of periodically moving visual stimuli is considered to be essential for such synchronization improvement. However, multiple factors could be associated with the ecological relevance and the relative contributions of the ecological factors to the synchronization improvement remain unclear. The present study investigated whether ecological factors other than a proposed critical factor, i.e., the speed characteristic, are required to account for the synchronization improvement of the bouncing ball. A periodically contracting ring that had the same speed characteristic as the periodically bouncing ball but lacked other possible ecological factors of the ball was designed. The results showed that synchronization was more stable for the bouncing ball than for the contracting ring, and this stability difference was larger in the difficult 300-ms than in the comfortable 600-ms inter-beat interval tapping condition. The finding suggests that ecological factors other than the speed characteristic are required to explain the synchronization improvement of periodically moving visual stimuli, particularly in difficult tapping conditions.
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Affiliation(s)
- Yingyu Huang
- Department of Psychology, Sun Yat-Sen University, Guangzhou, China
| | - Li Gu
- Department of Psychology, Sun Yat-Sen University, Guangzhou, China
| | - Junkai Yang
- Department of Psychology, Sun Yat-Sen University, Guangzhou, China
| | - Shengqi Zhong
- Department of Psychology, Sun Yat-Sen University, Guangzhou, China
| | - Xiang Wu
- Department of Psychology, Sun Yat-Sen University, Guangzhou, China
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7
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Your move or mine? Music training and kinematic compatibility modulate synchronization with self- versus other-generated dance movement. PSYCHOLOGICAL RESEARCH 2018; 84:62-80. [PMID: 29380047 DOI: 10.1007/s00426-018-0987-6] [Citation(s) in RCA: 7] [Impact Index Per Article: 1.2] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 07/21/2017] [Accepted: 01/18/2018] [Indexed: 01/25/2023]
Abstract
Motor simulation has been implicated in how musicians anticipate the rhythm of another musician's action to achieve interpersonal synchronization. Here, we investigated whether similar mechanisms govern a related form of rhythmic action: dance. We examined (1) whether synchronization with visual dance stimuli was influenced by movement agency, (2) whether music training modulated simulation efficiency, and (3) what cues were relevant for simulating the dance rhythm. Participants were first recorded dancing the basic Charleston steps paced by a metronome, and later in a synchronization task they tapped to the rhythm of their own point-light dance stimuli, stimuli of another physically matched participant or one matched in movement kinematics, and a quantitative average across individuals. Results indicated that, while there was no overall "self advantage" and synchronization was generally most stable with the least variable (averaged) stimuli, motor simulation was driven-indicated by high tap-beat variability correlations-by familiar movement kinematics rather than morphological features. Furthermore, music training facilitated simulation, such that musicians outperformed non-musicians when synchronizing with others' movements but not with their own movements. These findings support action simulation as underlying synchronization in dance, linking action observation and rhythm processing in a common motor framework.
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8
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Su YH, Salazar-López E. Visual Timing of Structured Dance Movements Resembles Auditory Rhythm Perception. Neural Plast 2016; 2016:1678390. [PMID: 27313900 PMCID: PMC4904124 DOI: 10.1155/2016/1678390] [Citation(s) in RCA: 13] [Impact Index Per Article: 1.6] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 09/02/2015] [Revised: 01/29/2016] [Accepted: 04/14/2016] [Indexed: 11/17/2022] Open
Abstract
Temporal mechanisms for processing auditory musical rhythms are well established, in which a perceived beat is beneficial for timing purposes. It is yet unknown whether such beat-based timing would also underlie visual perception of temporally structured, ecological stimuli connected to music: dance. In this study, we investigated whether observers extracted a visual beat when watching dance movements to assist visual timing of these movements. Participants watched silent videos of dance sequences and reproduced the movement duration by mental recall. We found better visual timing for limb movements with regular patterns in the trajectories than without, similar to the beat advantage for auditory rhythms. When movements involved both the arms and the legs, the benefit of a visual beat relied only on the latter. The beat-based advantage persisted despite auditory interferences that were temporally incongruent with the visual beat, arguing for the visual nature of these mechanisms. Our results suggest that visual timing principles for dance parallel their auditory counterparts for music, which may be based on common sensorimotor coupling. These processes likely yield multimodal rhythm representations in the scenario of music and dance.
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Affiliation(s)
- Yi-Huang Su
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich, 80992 Munich, Germany
| | - Elvira Salazar-López
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich, 80992 Munich, Germany
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9
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Su YH. Sensorimotor Synchronization with Different Metrical Levels of Point-Light Dance Movements. Front Hum Neurosci 2016; 10:186. [PMID: 27199709 PMCID: PMC4846664 DOI: 10.3389/fnhum.2016.00186] [Citation(s) in RCA: 12] [Impact Index Per Article: 1.5] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 02/14/2016] [Accepted: 04/12/2016] [Indexed: 11/13/2022] Open
Abstract
Rhythm perception and synchronization have been extensively investigated in the auditory domain, as they underlie means of human communication such as music and speech. Although recent studies suggest comparable mechanisms for synchronizing with periodically moving visual objects, the extent to which it applies to ecologically relevant information, such as the rhythm of complex biological motion, remains unknown. The present study addressed this issue by linking rhythm of music and dance in the framework of action-perception coupling. As a previous study showed that observers perceived multiple metrical periodicities in dance movements that embodied this structure, the present study examined whether sensorimotor synchronization (SMS) to dance movements resembles what is known of auditory SMS. Participants watched a point-light figure performing two basic steps of Swing dance cyclically, in which the trunk bounced at every beat and the limbs moved at every second beat, forming two metrical periodicities. Participants tapped synchronously to the bounce of the trunk with or without the limbs moving in the stimuli (Experiment 1), or tapped synchronously to the leg movements with or without the trunk bouncing simultaneously (Experiment 2). Results showed that, while synchronization with the bounce (lower-level pulse) was not influenced by the presence or absence of limb movements (metrical accent), synchronization with the legs (beat) was improved by the presence of the bounce (metrical subdivision) across different movement types. The latter finding parallels the “subdivision benefit” often demonstrated in auditory tasks, suggesting common sensorimotor mechanisms for visual rhythms in dance and auditory rhythms in music.
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Affiliation(s)
- Yi-Huang Su
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich Munich, Germany
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10
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Lacquaniti F, Bosco G, Gravano S, Indovina I, La Scaleia B, Maffei V, Zago M. Gravity in the Brain as a Reference for Space and Time Perception. Multisens Res 2016; 28:397-426. [PMID: 26595949 DOI: 10.1163/22134808-00002471] [Citation(s) in RCA: 36] [Impact Index Per Article: 4.5] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/19/2022]
Abstract
Moving and interacting with the environment require a reference for orientation and a scale for calibration in space and time. There is a wide variety of environmental clues and calibrated frames at different locales, but the reference of gravity is ubiquitous on Earth. The pull of gravity on static objects provides a plummet which, together with the horizontal plane, defines a three-dimensional Cartesian frame for visual images. On the other hand, the gravitational acceleration of falling objects can provide a time-stamp on events, because the motion duration of an object accelerated by gravity over a given path is fixed. Indeed, since ancient times, man has been using plumb bobs for spatial surveying, and water clocks or pendulum clocks for time keeping. Here we review behavioral evidence in favor of the hypothesis that the brain is endowed with mechanisms that exploit the presence of gravity to estimate the spatial orientation and the passage of time. Several visual and non-visual (vestibular, haptic, visceral) cues are merged to estimate the orientation of the visual vertical. However, the relative weight of each cue is not fixed, but depends on the specific task. Next, we show that an internal model of the effects of gravity is combined with multisensory signals to time the interception of falling objects, to time the passage through spatial landmarks during virtual navigation, to assess the duration of a gravitational motion, and to judge the naturalness of periodic motion under gravity.
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11
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Miura A, Fujii S, Okano M, Kudo K, Nakazawa K. Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition. Front Psychol 2016; 7:542. [PMID: 27148148 PMCID: PMC4837302 DOI: 10.3389/fpsyg.2016.00542] [Citation(s) in RCA: 9] [Impact Index Per Article: 1.1] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/28/2016] [Accepted: 04/01/2016] [Indexed: 11/13/2022] Open
Abstract
The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz). Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.
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Affiliation(s)
- Akito Miura
- Faculty of Sport Sciences, Waseda UniversityTokorozawa, Japan
| | - Shinya Fujii
- Graduate School of Education, The University of TokyoTokyo, Japan
| | - Masahiro Okano
- Department of Life Sciences, Graduate School of Arts and Sciences, The University of TokyoTokyo, Japan
| | - Kazutoshi Kudo
- Department of Life Sciences, Graduate School of Arts and Sciences, The University of TokyoTokyo, Japan
| | - Kimitaka Nakazawa
- Department of Life Sciences, Graduate School of Arts and Sciences, The University of TokyoTokyo, Japan
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12
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Celma-Miralles A, de Menezes RF, Toro JM. Look at the Beat, Feel the Meter: Top-Down Effects of Meter Induction on Auditory and Visual Modalities. Front Hum Neurosci 2016; 10:108. [PMID: 27047358 PMCID: PMC4803728 DOI: 10.3389/fnhum.2016.00108] [Citation(s) in RCA: 16] [Impact Index Per Article: 2.0] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 12/19/2015] [Accepted: 02/28/2016] [Indexed: 11/13/2022] Open
Abstract
Recent research has demonstrated top-down effects on meter induction in the auditory modality. However, little is known about these effects in the visual domain, especially without the involvement of motor acts such as tapping. In the present study, we aim to assess whether the projection of meter on auditory beats is also present in the visual domain. We asked 16 musicians to internally project binary (i.e., a strong-weak pattern) and ternary (i.e., a strong-weak-weak pattern) meter onto separate, but analog, visual and auditory isochronous stimuli. Participants were presented with sequences of tones or blinking circular shapes (i.e., flashes) at 2.4 Hz while their electrophysiological responses were recorded. A frequency analysis of the elicited steady-state evoked potentials allowed us to compare the frequencies of the beat (2.4 Hz), its first harmonic (4.8 Hz), the binary subharmonic (1.2 Hz), and the ternary subharmonic (0.8 Hz) within and across modalities. Taking the amplitude spectra into account, we observed an enhancement of the amplitude at 0.8 Hz in the ternary condition for both modalities, suggesting meter induction across modalities. There was an interaction between modality and voltage at 2.4 and 4.8 Hz. Looking at the power spectra, we also observed significant differences from zero in the auditory, but not in the visual, binary condition at 1.2 Hz. These findings suggest that meter processing is modulated by top-down mechanisms that interact with our perception of rhythmic events and that such modulation can also be found in the visual domain. The reported cross-modal effects of meter may shed light on the origins of our timing mechanisms, partially developed in primates and allowing humans to synchronize across modalities accurately.
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Affiliation(s)
- Alexandre Celma-Miralles
- Information and Communication Technologies Engineering (ETIC), Language and Comparative Cognition Group - Center for Brain and Cognition, Universitat Pompeu Fabra Barcelona, Spain
| | - Robert F de Menezes
- Information and Communication Technologies Engineering (ETIC), Language and Comparative Cognition Group - Center for Brain and Cognition, Universitat Pompeu Fabra Barcelona, Spain
| | - Juan M Toro
- Information and Communication Technologies Engineering (ETIC), Language and Comparative Cognition Group - Center for Brain and Cognition, Universitat Pompeu FabraBarcelona, Spain; Institució Catalana de Recerca i Estudis AvançatsBarcelona, Spain
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13
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Su YH. Visual tuning and metrical perception of realistic point-light dance movements. Sci Rep 2016; 6:22774. [PMID: 26947252 PMCID: PMC4780026 DOI: 10.1038/srep22774] [Citation(s) in RCA: 10] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [MESH Headings] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 11/19/2015] [Accepted: 02/23/2016] [Indexed: 11/24/2022] Open
Abstract
Humans move to music spontaneously, and this sensorimotor coupling underlies musical rhythm perception. The present research proposed that, based on common action representation, different metrical levels as in auditory rhythms could emerge visually when observing structured dance movements. Participants watched a point-light figure performing basic steps of Swing dance cyclically in different tempi, whereby the trunk bounced vertically at every beat and the limbs moved laterally at every second beat, yielding two possible metrical periodicities. In Experiment 1, participants freely identified a tempo of the movement and tapped along. While some observers only tuned to the bounce and some only to the limbs, the majority tuned to one level or the other depending on the movement tempo, which was also associated with individuals' preferred tempo. In Experiment 2, participants reproduced the tempo of leg movements by four regular taps, and showed a slower perceived leg tempo with than without the trunk bouncing simultaneously in the stimuli. This mirrors previous findings of an auditory 'subdivision effect', suggesting the leg movements were perceived as beat while the bounce as subdivisions. Together these results support visual metrical perception of dance movements, which may employ similar action-based mechanisms to those underpinning auditory rhythm perception.
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Affiliation(s)
- Yi-Huang Su
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich, Munich, Germany
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14
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Booth AJ, Elliott MT. Early, but not late visual distractors affect movement synchronization to a temporal-spatial visual cue. Front Psychol 2015; 6:866. [PMID: 26157412 PMCID: PMC4478893 DOI: 10.3389/fpsyg.2015.00866] [Citation(s) in RCA: 2] [Impact Index Per Article: 0.2] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 04/20/2015] [Accepted: 06/12/2015] [Indexed: 11/13/2022] Open
Abstract
The ease of synchronizing movements to a rhythmic cue is dependent on the modality of the cue presentation: timing accuracy is much higher when synchronizing with discrete auditory rhythms than an equivalent visual stimulus presented through flashes. However, timing accuracy is improved if the visual cue presents spatial as well as temporal information (e.g., a dot following an oscillatory trajectory). Similarly, when synchronizing with an auditory target metronome in the presence of a second visual distracting metronome, the distraction is stronger when the visual cue contains spatial-temporal information rather than temporal only. The present study investigates individuals' ability to synchronize movements to a temporal-spatial visual cue in the presence of same-modality temporal-spatial distractors. Moreover, we investigated how increasing the number of distractor stimuli impacted on maintaining synchrony with the target cue. Participants made oscillatory vertical arm movements in time with a vertically oscillating white target dot centered on a large projection screen. The target dot was surrounded by 2, 8, or 14 distractor dots, which had an identical trajectory to the target but at a phase lead or lag of 0, 100, or 200 ms. We found participants' timing performance was only affected in the phase-lead conditions and when there were large numbers of distractors present (8 and 14). This asymmetry suggests participants still rely on salient events in the stimulus trajectory to synchronize movements. Subsequently, distractions occurring in the window of attention surrounding those events have the maximum impact on timing performance.
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Affiliation(s)
- Ashley J. Booth
- School of Psychology, University of Birmingham, Edgbaston, UK
| | - Mark T. Elliott
- School of Psychology, University of Birmingham, Edgbaston, UK
- Institute of Digital Healthcare, Warwick Manufacturing Group, University of Warwick, Coventry, UK
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15
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Danielsen A, Haugen MR, Jensenius AR. Moving to the Beat: Studying Entrainment to Micro-Rhythmic Changes in Pulse by Motion Capture. TIMING & TIME PERCEPTION 2015. [DOI: 10.1163/22134468-00002043] [Citation(s) in RCA: 6] [Impact Index Per Article: 0.7] [Reference Citation Analysis] [Abstract] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Indexed: 11/19/2022]
Abstract
Pulse is a fundamental reference for the production and perception of rhythm. In this paper, we study entrainment to changes in the micro-rhythmic design of the basic pulse of the groove in ‘Left & Right’ by D’Angelo. In part 1 of the groove the beats have one specific position; in part 2, on the other hand, the different rhythmic layers specify two simultaneous but alternative beat positions that are approximately 50-80 ms apart. We first anticipate listeners’ perceptual response using the theories of entrainment and dynamic attending as points of departure. We then report on a motion capture experiment aimed at engaging listeners’ motion patterns in response to the two parts of the tune. The results show that when multiple onsets are introduced in part 2, the half note becomes a significant additional level of entrainment and the temporal locations of the perceived beats are drawn towards the added onsets.
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16
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Su YH. Content congruency and its interplay with temporal synchrony modulate integration between rhythmic audiovisual streams. Front Integr Neurosci 2014; 8:92. [PMID: 25538576 PMCID: PMC4259108 DOI: 10.3389/fnint.2014.00092] [Citation(s) in RCA: 8] [Impact Index Per Article: 0.8] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Download PDF] [Figures] [Journal Information] [Subscribe] [Scholar Register] [Received: 08/14/2014] [Accepted: 11/17/2014] [Indexed: 11/23/2022] Open
Abstract
Both lower-level stimulus factors (e.g., temporal proximity) and higher-level cognitive factors (e.g., content congruency) are known to influence multisensory integration. The former can direct attention in a converging manner, and the latter can indicate whether information from the two modalities belongs together. The present research investigated whether and how these two factors interacted in the perception of rhythmic, audiovisual (AV) streams derived from a human movement scenario. Congruency here was based on sensorimotor correspondence pertaining to rhythm perception. Participants attended to bimodal stimuli consisting of a humanlike figure moving regularly to a sequence of auditory beat, and detected a possible auditory temporal deviant. The figure moved either downwards (congruently) or upwards (incongruently) to the downbeat, while in both situations the movement was either synchronous with the beat, or lagging behind it. Greater cross-modal binding was expected to hinder deviant detection. Results revealed poorer detection for congruent than for incongruent streams, suggesting stronger integration in the former. False alarms increased in asynchronous stimuli only for congruent streams, indicating greater tendency for deviant report due to visual capture of asynchronous auditory events. In addition, a greater increase in perceived synchrony was associated with a greater reduction in false alarms for congruent streams, while the pattern was reversed for incongruent ones. These results demonstrate that content congruency as a top-down factor not only promotes integration, but also modulates bottom-up effects of synchrony. Results are also discussed regarding how theories of integration and attentional entrainment may be combined in the context of rhythmic multisensory stimuli.
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Affiliation(s)
- Yi-Huang Su
- Department of Movement Science, Faculty of Sport and Health Sciences, Technical University of Munich Munich, Germany
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17
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Su YH. Visual enhancement of auditory beat perception across auditory interference levels. Brain Cogn 2014; 90:19-31. [DOI: 10.1016/j.bandc.2014.05.003] [Citation(s) in RCA: 18] [Impact Index Per Article: 1.8] [Reference Citation Analysis] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 01/15/2014] [Revised: 04/11/2014] [Accepted: 05/08/2014] [Indexed: 11/16/2022]
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18
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Su YH. Audiovisual beat induction in complex auditory rhythms: point-light figure movement as an effective visual beat. Acta Psychol (Amst) 2014; 151:40-50. [PMID: 24932996 DOI: 10.1016/j.actpsy.2014.05.016] [Citation(s) in RCA: 13] [Impact Index Per Article: 1.3] [Reference Citation Analysis] [Abstract] [Key Words] [Track Full Text] [Journal Information] [Subscribe] [Scholar Register] [Received: 10/14/2013] [Revised: 05/12/2014] [Accepted: 05/26/2014] [Indexed: 10/25/2022] Open
Abstract
This study investigated whether explicit beat induction in the auditory, visual, and audiovisual (bimodal) modalities aided the perception of weakly metrical auditory rhythms, and whether it reinforced attentional entrainment to the beat of these rhythms. The visual beat-inducer was a periodically bouncing point-light figure, which aimed to examine whether an observed rhythmic human movement could induce a beat that would influence auditory rhythm perception. In two tasks, participants listened to three repetitions of an auditory rhythm that were preceded and accompanied by (1) an auditory beat, (2) a bouncing point-light figure, (3) a combination of (1) and (2) synchronously, or (4) a combination of (1) and (2), with the figure moving in anti-phase to the auditory beat. Participants reproduced the auditory rhythm subsequently (Experiment 1), or detected a possible temporal change in the third repetition (Experiment 2). While an explicit beat did not improve rhythm reproduction, possibly due to the syncopated rhythms when a beat was imposed, bimodal beat induction yielded greater sensitivity to a temporal deviant in on-beat than in off-beat positions. Moreover, the beat phase of the figure movement determined where on-beat accents were perceived during bimodal induction. Results are discussed with regard to constrained beat induction in complex auditory rhythms, visual modulation of auditory beat perception, and possible mechanisms underlying the preferred visual beat consisting of rhythmic human motions.
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