Tapping to drumbeats in an online experiment changes our perception of time and expressiveness

Bodily movements along with music, such as tapping, are not only very frequent, but may also have a profound impact on our perception of time and emotions. The current study adopted an online tapping paradigm to investigate participants' time experiences and expressiveness judgements when they tapped and did not tap to a series of drumming performances that varied in tempo and rhythmic complexity. Participants were asked to judge durations, passage of time (PoT), and the expressiveness of the performances in two conditions: (1) Observing only, (2) Observing and tapping regularly to the perceived beats. Results show that tapping trials passed subjectively faster and were partially (in slow- and medium-tempo conditions) perceived shorter compared to the observing-only trials. Increases in musical tempo (in tapping trials) and in complexity led to faster PoT, potentially due to distracted attentional resources for the timing task. Participants' musical training modulated the effects of complexity on the judgments of expressiveness. In addition, increases in tapping speed led to duration overestimation among the less musically trained participants. Taken together, tapping to music may have altered the internal clock speed, affecting the temporal units accumulated in the pacemaker-counter model.

Effects of Attentional Focus on Motor Performance and Physiology in a Slow-Motion Violin Bow-Control Task: Evidence for the Constrained Action Hypothesis in Bowed String Technique

The constrained action hypothesis states that focusing attention on action outcomes rather than body movement improves motor performance. Dexterity of motor control is key to successful music performance, making this a highly relevant topic to music education. We investigated effects of focus of attention (FOA) on motor skill performance and EMG muscle activity in a violin bowing task among experienced and novice upper strings players. Following a pedagogically informed exercise, participants attempted to produce single oscillations of the string at a time under three FOA: internal (on arm movement), external (on sound produced), and somatic (on string resistance). Experienced players' number of bow slips was significantly reduced under somatic focus relative to internal, although number of successful oscillations was not affected. Triceps electromyographic activity was also significantly lower in somatic compared to internal foci for both expertise groups, consistent with physiological understandings of FOA effects. Participants' reported thoughts during the experiment provided insight into whether aspects of constrained action may be evident in performers' conscious thinking. These results provide novel support for the constrained action hypothesis in violin bow control, suggesting a somatic FOA as a promising performance-enhancing strategy for bowed string technique.

Interpersonal Musical Synchronization and Prosocial Behavior in Children: No Effects in a Controlled Field Experiment

Prosocial effects of music have recently attracted increased attention in research and media. An often-cited experiment, carried out by Kirschner and Tomasello in 2010 under laboratory conditions, found that children at the age of four years were more willing to help each other after they had engaged in synchronous musical activities. The aim of the current study was to replicate this research under controlled field conditions in the children's social environment, and to disentangle the musical synchronization effect by introducing a verbal interaction (singing together) and a motor interaction (tapping together) task, contrasted by an asynchronous control condition. In a between-participants design, no effects of musical synchronization nor the children's gender were found. Furthermore, age was not related to prosocial behavior. Explanations are systematically discussed, yet it remains possible that the original effect found in 2010 might be overestimated and less consistently reproducible as previously assumed.

Motor performance in violin bowing: Effects of attentional focus on acoustical, physiological and physical parameters of a sound-producing action

Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices' violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.

Spontaneous Motor Tempo: Investigating Psychological, Chronobiological, and Demographic Factors in a Large-Scale Online Tapping Experiment

The spontaneous motor tempo (SMT) describes the pace of regular and repeated movements such as hand clapping or walking. It is typically measured by letting people tap with their index finger at a pace that feels most natural and comfortable to them. A number of factors have been suggested to influence the SMT, such as age, time of the day, arousal, and potentially musical experience. This study aimed at investigating the effects of these factors in a combined and out-of-the-lab context by implementing the finger-tapping paradigm in an online experiment using a self-developed web application. Due to statistical multimodality in the distribution of participants' SMT (N = 3,576), showing peaks at modes of around 250 ms, a Gaussian mixture model was applied that grouped participants into six clusters, ranging from Very Fast (M = 265 ms, SD = 74) to Very Slow (M = 1,757 ms, SD = 166). These SMT clusters differed in terms of age, suggesting that older participants had a slower SMT, and time of the day, showing that the earlier it was, the slower participants' SMT. While arousal did not differ between the SMT clusters, more aroused participants showed faster SMTs across all normalized SMT clusters. Effects of musical experience were inconclusive. With a large international sample, these results provide insights into factors influencing the SMT irrespective of cultural background, which can be seen as a window into human timing processes.

Perceiving Tempo in Incongruent Audiovisual Presentations of Human Motion: Evidence for a Visual Driving Effect

Compared to vision, audition has been considered to be the dominant sensory modality for temporal processing. Nevertheless, recent research suggests the opposite, such that the apparent inferiority of visual information in tempo judgements might be due to the lack of ecological validity of experimental stimuli, and reliable visual movements may have the potential to alter the temporal location of perceived auditory inputs. To explore the role of audition and vision in overall time perception, audiovisual stimuli with various degrees of temporal congruence were developed in the current study. We investigated which sensory modality weighs more in holistic tempo judgements with conflicting audiovisual information, and whether biological motion (point-light displays of dancers) rather than auditory cues (rhythmic beats) dominate judgements of tempo. A bisection experiment found that participants relied more on visual tempo compared to auditory tempo in overall tempo judgements. For fast tempi (150 to 180 BPM), participants judged ‘fast’ significantly more often with visual cues regardless of the auditory tempo, whereas for slow tempi (60 to 90 BPM), they did so significantly less often. Our results support the notion that visual stimuli with higher ecological validity have the potential to drive up or down the holistic perception of tempo.

Tapping to hip-hop: Effects of cognitive load, arousal, and musical meter on time experiences

Experiences of time vary intra- and interindividually, depending on factors such as attentional resource allocation and arousal. Music as a temporal art that is structured by multiple temporal layers is ideal for investigating human time experiences. The current study used examples of hip-hop music that varied in arousal but were constant in tempo. Participants judged the passage of time to be quicker when cognitive load was high in a dual-task condition, and perceived duration to be shorter when performing a concurrent motor task (tapping along with the music). Perceived musical arousal did not affect subjective time. Attending to a higher metrical level by tapping with half notes resulted in shorter duration estimates and a quicker passage of time, compared to tapping with eighth notes of the same music. Results were not influenced by spontaneous motor tempo, musical expertise, preference or familiarity with the music. Taken together, these findings indicate consistent effects of cognitive load and attention to meter on time experiences.

The challenge of being slow: Effects of tempo, laterality, and experience on dance movement consistency

In dance, music, or sports, reproducibility and consistency as well as bilateral dexterity/coordination of movement are crucial for motor control. Research into the biomechanics of movement consistency and variability is important for motor learning to achieve proficiency and maximize outcome reproduction and stability as well as to reduce the risk of injury. Thirty-six participants were instructed to perform a repetitive circular, ipsilateral motion of arms and legs at three different tempi, while being recorded with optical motion capture. Two velocity-based consistency measures were developed an overall measure of consistency and a laterality difference measure. Maintaining velocity consistency was more challenging at slower than at faster tempi, suggesting that slow movement could require more attentional focus and thus become more variable. Music experience resulted in higher consistency, especially on the subdominant body side, possibly due to extensive bilateral training. Outcomes could have potential implications for music instrument, dance, and sports practice and training.

Time perception in human movement: Effects of speed and agency on duration estimation

While the effects of synthesised visual stimuli on time perception processes are well documented, very little research on time estimation in human movement stimuli exists. This study investigated the effects of movement speed and agency on duration estimation of human motion. Participants were recorded using optical motion capture while they performed dance-like movements at three different speeds. They later returned for a perceptual experiment in which they watched point-light displays of themselves and one other participant. Participants were asked to identify themselves, to estimate the duration of the recordings, and to rate expressivity and quality of the movements. Results indicate that speed of movement affected duration estimations such that faster speeds were rated longer, in accordance with previous findings in non-biological motion. The biasing effects of speed were stronger for watching others' movements than for watching one's own point-light movements. Duration estimations were longer after acting out the movement compared with watching it, and speed differentially affected ratings of expressivity and quality. Findings suggest that aspects of temporal processing of visual stimuli may be modulated by inner motor representations of previously performed movements, and by physically carrying out an action compared with just watching it. Results also support the inner clock and change theories of time perception for the processing of human motion stimuli, which can inform the temporal mechanisms of the hypothesised separate processor for human movement information.

Sensorimotor synchronisation with higher metrical levels in music shortens perceived time

The aim of the present study was to investigate if the perception of time is affected by actively attending to different metrical levels in musical rhythmic patterns. In an experiment with a repeated-measures design, musicians and non-musicians were presented with musical rhythmic patterns played at three different tempi. They synchronised with multiple metrical levels (half notes, quarter notes, eighth notes) of these patterns using a finger-tapping paradigm and listened without tapping. After each trial, stimulus duration was judged using a verbal estimation paradigm. Results show that the metrical level participants synchronised with influenced perceived time: actively attending to a higher metrical level (half notes, longer inter-tap intervals) led to the shortest time estimations, hence time was experienced as passing more quickly. Listening without tapping led to the longest time estimations. The faster the tempo of the patterns, the longer the time estimation. While there were no differences between musicians and non-musicians, those participants who tapped more consistently and accurately (as analysed by circular statistics) estimated durations to be shorter. Thus, attending to different metrical levels in music, by deliberately directing attention and motor activity, affects time perception.

Slow motion in films and video clips: Music influences perceived duration and emotion, autonomic physiological activation and pupillary responses

Slow motion scenes are ubiquitous in screen-based audiovisual media and are typically accompanied by emotional music. The strong effects of slow motion on observers are hypothetically related to heightened emotional states in which time seems to pass more slowly. These states are simulated in films and video clips, and seem to resemble such experiences in daily life. The current study investigated time perception and emotional response to media clips containing decelerated human motion, with or without music using psychometric and psychophysiological testing methods. Participants were presented with slow-motion scenes taken from commercial films, ballet and sports footage, as well as the same scenes converted to real-time. Results reveal that slow-motion scenes, compared to adapted real-time scenes, led to systematic underestimations of duration, lower perceived arousal but higher valence, lower respiration rates and smaller pupillary diameters. The presence of music compared to visual-only presentations strongly affected results in terms of higher accuracy in duration estimates, higher perceived arousal and valence, higher physiological activation and larger pupillary diameters, indicating higher arousal. Video genre affected responses in addition. These findings suggest that perceiving slow motion is not related to states of high arousal, but rather affects cognitive dimensions of perceived time and valence. Music influences these experiences profoundly, thus strengthening the impact of stretched time in audiovisual media.

The impact of music and stretched time on pupillary responses and eye movements in slow-motion film scenes

This study investigated the effects of music and playback speed on arousal and visual perception in slow-motion scenes taken from commercial films. Slow-motion scenes are a ubiquitous film technique and highly popular. Yet the psychological effects of mediated time-stretching compared to real-time motion have not been empirically investigated. We hypothesised that music affects arousal and attentional processes. Furthermore, we as-sumed that playback speed influences viewers’ visual perception, resulting in a higher number of eye movements and larger gaze dispersion. Thirty-nine participants watched three film excerpts in a repeated-measures design in conditions with or without music and in slow motion vs. adapted real-time motion (both visual-only). Results show that music in slow-motion film scenes leads to higher arousal compared to no music as indicated by larger pupil diameters in the former. There was no systematic effect of music on visual perception in terms of eye movements. Playback speed influenced visual perception in eye movement parameters such that slow motion resulted in more and shorter fixations as well as more saccades compared to adapted real-time motion. Furthermore, in slow motion there was a higher gaze dispersion and a smaller centre bias, indicating that individuals attended to more detail in slow motion scenes.

Gender recognition depends on type of movement and motor skill. Analyzing and perceiving biological motion in musical and nonmusical tasks

Gender recognition in point-light displays was investigated with regard to body morphology cues and motion cues of human motion performed with different levels of technical skill. Gestures of male and female orchestral conductors were recorded with a motion capture system while they conducted excerpts from a Mendelssohn string symphony to musicians. Point-light displays of conductors were presented to observers under the following conditions: visual-only, auditory-only, audiovisual, and two non-conducting conditions (walking and static images). Observers distinguished between male and female conductors in gait and static images, but not in visual-only and auditory-only conducting conditions. Across all conductors, gender recognition for audiovisual stimuli was better than chance, yet significantly less reliable than for gait. Separate analyses for two groups of conductors indicated an expertise effect in that novice conductors' gender was perceived above chance level for visual-only and audiovisual conducting, while skilled conducting gestures of experts did not afford gender-specific cues. In these conditions, participants may have ignored the body morphology cues that led to correct judgments for static images. Results point to a response bias such that conductors were more often judged to be male. Thus judgment accuracy depended both on the conductors' level of expertise as well as on the observers' concepts, suggesting that perceivable differences between men and women may diminish for highly trained movements of experienced individuals.

The perception of prototypical motion: synchronization is enhanced with quantitatively morphed gestures of musical conductors

Aesthetic theories have long suggested perceptual advantages for prototypical exemplars of a given class of objects or events. Empirical evidence confirmed that morphed (quantitatively averaged) human faces, musical interpretations, and human voices are preferred over most individual ones. In this study, biological human motion was morphed and tested for prototype effects in task-specific actions, perceptual judgments, and kinematic characteristics. A motion capture system recorded the movements of six novice and six expert orchestral conductors while they performed typical beat patterns in time with a metronome. Point-light representations of individual conductors and morphs of experts, novices, and a grand average morph were generated. In a repeated-measures sensorimotor synchronization paradigm, participants tapped a finger in time with the conducting and provided evaluations of the gestures' characteristics. Quantitatively averaged conducting motion resulted in reduced jerk (i.e., smoother motion) as well as higher synchronization accuracy and tapping consistency. Perceived beat clarity and quality of the gestures correlated with the timing of vertical acceleration in the conductors' movements. While gestures of individual conductors were perceived to be more expressive, morphs appeared more conventional. Thus, due to smoother spatiotemporal profiles of morphs, perception and action advantages were observed for prototypes that are presumably based both on motor resonance mechanisms and cognitive representations.

Keeping an eye on the violinist: motor experts show superior timing consistency in a visual perception task

Common coding theory states that perception and action may reciprocally induce each other. Consequently, motor expertise should map onto perceptual consistency in specific tasks such as predicting the exact timing of a musical entry. To test this hypothesis, ten string musicians (motor experts), ten non-string musicians (visual experts), and ten non-musicians were asked to watch progressively occluded video recordings of a first violinist indicating entries to fellow members of a string quartet. Participants synchronised with the perceived timing of the musical entries. Results revealed significant effects of motor expertise on perception. Compared to visual experts and non-musicians, string players not only responded more accurately, but also with less timing variability. These findings provide evidence that motor experts’ consistency in movement execution—a key characteristic of expert motor performance—is mirrored in lower variability in perceptual judgements, indicating close links between action competence and perception.