A musician's spontaneous rate of movement, called spontaneous motor tempo (SMT), can be measured while spontaneously playing a simple melody. Data shows that the SMT influences the musician's tempo and synchronization. In this study we present a model that captures these phenomena. We review the results from three previously-published studies: solo musical performance with a pacing metronome tempo that is different from the SMT, solo musical performance without a metronome at a tempo that is faster or slower than the SMT, and duet musical performance between musicians with matching or mismatching SMTs. These studies showed, respectively, that the asynchrony between the pacing metronome and the musician's tempo grew as a function of the difference between the metronome tempo and the musician's SMT, musicians drifted away from the initial tempo toward the SMT, and the absolute asynchronies were smaller if musicians had matching SMTs. We hypothesize that the SMT constantly acts as a pulling force affecting musical actions at a tempo different from a musician's SMT. To test our hypothesis, we developed a model consisting of a non-linear oscillator with Hebbian tempo learning and a pulling force to the model's spontaneous frequency. While the model's spontaneous frequency emulates the SMT, elastic Hebbian learning allows for frequency learning to match a stimulus' frequency. To test our hypothesis, we first fit model parameters to match the data in the first of the three studies and asked whether this same model would explain the data the remaining two studies without further tuning. Results showed that the model's dynamics allowed it to explain all three experiments with the same set of parameters. Our theory offers a dynamical-systems explanation of how an individual's SMT affects synchronization in realistic music performance settings, and the model also enables predictions about performance settings not yet tested.
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http://dx.doi.org/10.1371/journal.pcbi.1011154 | DOI Listing |
Sci Rep
June 2024
Center for Music in the Brain, Department of Clinical Medicine, Aarhus University and The Royal Academy of Music Aarhus/Aalborg, Aarhus, Denmark.
Spontaneous rhythmic movements are part of everyday life, e.g., in walking, clapping or music making.
View Article and Find Full Text PDFExp Brain Res
May 2024
Department of Psychology, Michigan State University, East Lansing, USA.
This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g.
View Article and Find Full Text PDFFront Psychol
October 2023
ToNIC, Toulouse NeuroImaging Center, Université de Toulouse, Inserm, UPS, Toulouse, France.
Intentionally or not, humans produce rhythmic behaviors (e.g., walking, speaking, and clapping).
View Article and Find Full Text PDFPLoS Comput Biol
June 2023
Department of Psychological Sciences, University of Connecticut, Storrs, Connecticut, United States of America.
A musician's spontaneous rate of movement, called spontaneous motor tempo (SMT), can be measured while spontaneously playing a simple melody. Data shows that the SMT influences the musician's tempo and synchronization. In this study we present a model that captures these phenomena.
View Article and Find Full Text PDFFront Psychol
November 2022
Department of Computer Science and Engineering, Toyohashi University of Technology, Toyohashi, Japan.
Music, and listening to music, has occurred throughout human history. However, it remains unclear why people prefer some types of music over others. To understand why we listen to a certain music, previous studies have focused on preferred tempo.
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