The effects of rhythmic structure on tapping accuracy

Prior investigations of simple rhythms in familiar time signatures have shown the importance of several mechanisms; notably, those related to metricization and grouping. But there has been limited study of complex rhythms, including those in unfamiliar time signatures, such as are found outside mainstream Western music. Here, we investigate how the structures of 91 rhythms with nonisochronous onsets (mostly complex, several in unfamiliar time signatures) influence the accuracy, velocity, and timing of taps made by participants attempting to synchronize with these onsets. The onsets were piano-tone cues sounded at a well-formed subset of isochronous cymbal pulses; the latter occurring every 234 ms. We modelled tapping at both the rhythm level and the pulse level; the latter provides insight into how rhythmic structure makes some cues easier to tap and why incorrect (uncued) taps may occur. In our models, we use a wide variety of quantifications of rhythmic features, several of which are novel and many of which are indicative of underlying mechanisms, strategies, or heuristics. The results show that, for these tricky rhythms, taps are disrupted by unfamiliar period lengths and are guided by crude encodings of each rhythm: the density of rhythmic cues, their circular mean and variance, and recognizing common small patterns and the approximate positions of groups of cues. These lossy encodings are often counterproductive for discriminating between cued and uncued pulses and are quite different to mechanisms-such as metricization and emphasizing group boundaries-thought to guide tapping behaviours in learned and familiar rhythms.

Enhancement of visuomotor synchronization by a regular pattern of stimulus presentation

Stable synchronization with external auditory/visual events is important for cooperative behavior, such as playing music in an orchestra. One way to enhance synchronization in the auditory domain is by inserting different tones between tones to synchronize. Synchronized tapping for every other tone or more (1: n tapping) is less variable than that for each tone (1:1 tapping). This phenomenon is called the "subdivision benefit," which is interpreted as that additional temporal references by subdivided tones make synchronization more stable. However, it is unclear whether visuomotor synchronization becomes more stable by subdividing a stimulus sequence. To clarify this, the present study compared 1:3 tapping with a sequence of three-picture patterns and 1:1 tapping with a single picture repetition. When the inter-tap interval (ITI) was 1200 ms or more, the tapping variability showed a subdivision benefit, irrespective of the position of the pictures (1st, 2nd, or 3rd picture) in the three-picture pattern. However, when the ITI was <1000 ms, subdivision did not have any significant effect. These results imply that the subdivision benefit is due to the additional temporal reference provided by the subdivided stimuli, and the benefit depends on the ITI length.