Summary - short rhythm patterns for imitation task (Aniruddh Patel )

Subject: Summary - short rhythm patterns for imitation task From: Aniruddh Patel <apatel@xxxxxxxx> Date: Fri, 26 Jun 2009 11:58:51 -0800 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY> --=====================_7256343==.ALT Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear List, Back in May I queried the list about short rhythm patterns that could be used in a rhythm-imitation task with children. It looks my colleague who is leading this project has decided to put it on hold, so I am not proceeding with further test development right now. However, I got some very helpful responses from several Auditory list membe= rs. These are copied below. Regards, Ani Patel -------------------------- Original query (May 21, 2009): Dear list, Can anyone suggest a set of short rhythm patterns of varying complexity for use in a rhythm imitation task with children? Ideally the patterns would be about 4-7 elements long and at 2 or 3 levels of rhythmic complexity. They would hear one pattern at a time and imitate it by tapping with a drum stick. If anyone knows of suitable stimuli, especially batteries that have some published data associated with them, I would be most grateful. Thanks, Ani Patel ----------------- From Richard Parncutt Maybe the six cyclic patterns I used in the following paper would be ok at least for the lower level of complexity Parncutt, R. (1994 a). A perceptual model of pulse salience and metrical=20 accent in musical rhythms. Music Perception, 11, 409-464. For slightly higher complexity you could add 16-unit cycles e.g. clave 3+3+4+2+4=3D16 ---------------------------------------------------------------------------= --------------- From Lola Cuddy I have a very old study--Smith, Cuddy, and Upitis, Psychology of Music 1994 (22)117-135. It was focused on the Bamberger figural/metric distinction as opposed to reporting in detail stimulus specific responses. Both adults and kiddies drew and reproduced the patterns. The patterns are given in Fig 2 and some data on accuracy are giv= en. The stimuli may be too long...at 9 or 10 notes... for your purposes. And these were the days before pdfs and other things.... ------------------------------------- From Marcus Pearce You could try following the method of Povel and Essens (1985) which has been well-tested and formalised into a model of rhythmic complexity by Shmulevich and Povel (2000). For example, Grahn and Brett (2007) use this approach to generate a set of rhythmic patterns varying in perceptual complexity for use in a neuroimaging study; see Table 1, which shows the rhythmic sequences containing 5-7 intervals at three levels of complexity (metric simple, metric complex and non-metric). Strictly speaking, though, this is metrical complexity which may not be the kind of rhythmic complexity you are after. Grahn, J. A. and Brett, M. (2007). Rhythm and beat perception in motor areas of the brain. Journal of Cognitive Neuroscience, 19(5), 893-906. Povel, D. J., & Essens, P. J. (1985). Perception of temporal patterns. Music Perception, 2, 411=96440. Shmulevich, I. and Povel, D. J. (2000). Measures of Temporal Pattern Complexity. Journal of New Music Research, 29(1), 61-69. ---------------------------------------------- From Eliot Handelman The question is, what's rhythmic complexity -- what's rhythm, for that matter? Consider Gary Marcus' work with 7-month olds discerning simple grammars like AAB, ABA, and ABB. It would be extremely interesting to try complicating grammars like this & seeing to what extent children could still recognize them. Grammars of this sort form at least one component of rhythm. For the purposes of rhythmic production you could view a rhythm as a pattern of transformations of an underlying beat. For example, AB -> q (ee) q (ee) ... where q =3D quarter & e =3D eighth. ABA -> q (ee) q AABA -> q q (ee) q ABAC -> q (ee) q (j) where j is a jagged rhythm like 3::1 or 2:;1. In devising such a grammar it is important to remember the sorts of results associated with Gentner's analogical experiments, where "structure" rather than "feature" can dominate (in reference to which Marcus' "Algebraic Mind" might also help). What Gentner is calling "structure" seems to include something I call "place pattern" -- a variation that occurs in the same place in a repeated pattern, for example AABA AACA The pattern consists of 4 terms, of which all are the same except the third. These are analogues in some sense irrespective of what B & C stand for. They are in a structural sense sense simpler than ABAA AAAC, in which the variation here does not come in the same place. (Or create a finer segmentation: AB AA AA AC: let a grammatical rule be "the 2nd term is diferent from the first". The rule is satisfied in the pattern 1001, whereas in the first case the rule "the 3rd term is different" is satisfied in the pattern 11, which is obviously simpler than 1001.) The schema of the pattern is AAxA. The x could stand for a simple pattern that is deployed one term at a time per repetition of the main schema. It could be "BCBC," giving AABA AACA AABA AACA Would 7-month olds recognize this a grammar (especially because of the recursion)? My guess is yes. It would probably not be too hard to get some limits on what sorts of complications would still be discernible but as far as I know no such work has been carried out. To realize this rhythmically, eg: AABA AACA =3D> (ee) (ee) q (ee) / (ee) (ee) (triplet) (ee). But note that the terms could represent different sounds played at constant beat: the result would still be rhythmically differented. The sounds could be a ratttle & a bell, eg. How to rate complexity? The above rhythm is probably simpler than (ee) q (ee) (ee) (ee) (ee) (triplet) (ee). You could rate this using the sorts of metrics devised by Chomsky &Halle, Leeuwenberg, etc: just count symbols once the pattern has been reduced via a pattern reduction grammar. Intuitively, AB is simpler than ABA. But it is not certain that ABA is simpler than AABA, which permits a duple structural division where the first does not, so that the whole, in some sense, is reducible to AB, or this is what the pattern reduction grammar should do. Notice that without considering place patterns, it's not likely that the metric can have much predictive utility. I've worked extensively on this, but my results are not published. At any rate, following these suggestions it should be rather easy to devise a test rhythmic set with more or less controlled degree of complexity variation. -------------------------------- From Daniele Schon Dear Ani, There is a paper by Fries and Swihart, I think 1990, using a simple rhythmic battery of increasing difficulty. I have a midi version of that, as well as a test on simple rhythm reproduction I developed You can find it here <http://www.incm.cnrs-mrs.fr/pperso/attach/schon/schon_battery.zip>http://w= ww.incm.cnrs-mrs.fr/pperso/attach/schon/schon_battery.zip fries_swi.mid rhythm_reprod.mid --------------- From Georgios Papadelis We developed a rhythm copying test in collaboration with Katie Overy. =93Rhythmologos=94: A test battery and related software tools for the=20 assessment of basic musical skills in children =93Rhythmologos=94 is a test battery of musical aptitude adapted from the M= ATs=20 (see Overy et al., 2003). It consists of simplified tests of the MATs=20 developed by Dr Overy (Edinburgh University =96 UK) and Dr. Papadelis=20 (Aristotle University of Thessaloniki =96 Greece), which were piloted and= =20 decided as being suitable for children with learning disabilities, who may= =20 have difficulties concentrating for long periods at a time. Those tests are= =20 mainly focused on the assessment of musical timing skills Analysis of=20 already collected data has shown that the test functions well with=20 typically developing children between 5 and 10 years old, which reveals=20 that it can provide reliable measures of children's musical timing=20 performance through the elaboration of simple rhythm reproduction and=20 rhythm discrimination tasks. A description of a web-based version of =93Rhythmologos=94 (Papadelis et al= .,=20 2006) was first presented at the Conference on Rhythm, Time and Temporal=20 Organization (Institute for Music in Human and Social Development, June=20 2006, Edinburgh, Scotland). A current Windows-based offline version of the= =20 battery is available to researchers who conduct research on children's=20 musical development and has already been used in a couple of related=20 projects around the world (Boston, Germany, Greece, Hong-Kong). Further=20 description of the tests, together with related research data are also=20 reported in Krommyda et al. 2008 (see references below). For further details please contact Dr. Georgios Papadelis=20 (<mailto:papadeli@xxxxxxxx>papadeli@xxxxxxxx) References 1) Krommyda, M., Papadelis, G., Chatzikallia, K., Pastiadis, K. & Kardaras,= =20 P. (2008). Does awareness of musical structure relate to general cognitive= =20 and literacy profile in children with learning disabilities? Proceedings of= =20 the Fourth conference on Interdisciplinary Musicology (CIM 08).=20 Thessaloniki, Greece. <http://users.auth.gr/~papadeli/PUBLICATIONS/Krommyda_Papadelis%20CIM08.pdf= >http://users.auth.gr/~papadeli/PUBLICATIONS/Krommyda_Papadelis%20CIM08.pdf 2) Overy, K.; Nicolson, R.; Fawcett, A. and Clarke, E. (2003). Dyslexia and= =20 Music: Measuring Musical Timing Skills. DYSLEXIA, 9, 18-36. 3) Papadelis, G., Pastiadis, K., Georgiopoulos, P., Fouloulis, A. & Overy,= =20 K. (2006). =93Rhythmol=F3gos=94: A web-based environment for musical timing= test=20 procedures. (poster presentation). Conference on Rhythm, Time and Temporal= =20 Organization. Institute for Music in Human and Social Development,=20 Edinburgh, Scotland. <http://users.auth.gr/~papadeli/PUBLICATIONS/RHYTHMOLOGOS.pdf>http://users.= auth.gr/~papadeli/PUBLICATIONS/RHYTHMOLOGOS.pdf ----------------- From Ted Moallem One method that has been suggested to me for assessing rhythm following is= =20 "reiterant speech", where the child attempts to reproduce a=20 prosodic/rhythmic pattern by repeating a predetermined monosyllable ---=20 kind of like a directed form of babbling. Aniruddh D. Patel, Ph.D. Esther J. Burnham Senior Fellow The Neurosciences Institute 10640 John Jay Hopkins Drive San Diego, CA 92121 858-626-2085 tel 858-626-2099 fax apatel@xxxxxxxx http://www.nsi.edu/users/patel --=====================_7256343==.ALT Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline <html> <body> Dear List, Back in May I queried the list about short rhythm patterns that could be used in a rhythm-imitation task with children. It looks my colleague who is leading this project has decided to put it on hold, so I am not proceeding with further test development right now. However, I got some very helpful responses from several Auditory list members. These are copied below. Regards, Ani Patel -------------------------- Original query (May 21, 2009):   Dear list,   Can anyone suggest a set of short rhythm patterns of varying complexity for use in a rhythm imitation task with children? Ideally the patterns would be about 4-7 elements long and at 2 or 3 levels of rhythmic complexity. They would hear one pattern at a time and imitate it by tapping with a drum stick.   If anyone knows of suitable stimuli, especially batteries that have some published data associated with them, I would be most grateful.   Thanks, Ani Patel   -----------------   From Richard Parncutt   Maybe the six cyclic patterns I used in the following paper would be ok at least for the lower level of complexity   Parncutt, R. (1994 a). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception, 11, 409-464.   For slightly higher complexity you could add 16-unit cycles e.g. clave 3+3+4+2+4=3D16   ---------------------------------------------------------------------------= ---------------   From Lola Cuddy   I have a very old study--Smith, Cuddy, and Upitis, Psychology of Music 1994  (22)117-135.  It was focused on the Bamberger=20 figural/metric distinction as opposed to reporting in detail stimulus specific responses.  Both adults and kiddies drew and reproduced the patterns. The patterns are given in Fig 2 and some data on accuracy are given.   The stimuli may be too long...at 9 or 10 notes... for your purposes.  And these were the days before pdfs and other things....   -------------------------------------   From Marcus Pearce   You could try following the method of Povel and Essens (1985) which has been well-tested and formalised into a model of rhythmic complexity by Shmulevich and Povel (2000). For example, Grahn and Brett (2007) use this approach to generate a set of rhythmic patterns varying in perceptual complexity for use in a neuroimaging study; see Table 1, which shows the rhythmic sequences containing 5-7 intervals at three levels of complexity (metric simple, metric complex and non-metric).   Strictly speaking, though, this is metrical complexity which may not be the kind of rhythmic complexity you are after.   Grahn, J. A. and Brett, M. (2007). Rhythm and beat perception in motor areas of the brain. Journal of Cognitive Neuroscience, 19(5), 893-906.   Povel, D. J., & Essens, P. J. (1985). Perception of temporal patterns. Music Perception, 2, 411=96440.   Shmulevich, I. and Povel, D. J. (2000). Measures of Temporal Pattern Complexity. Journal of New Music Research, 29(1), 61-69.   ----------------------------------------------   From Eliot Handelman   The question is, what's rhythmic complexity -- what's rhythm, for that matter?   Consider Gary Marcus' work with 7-month olds discerning simple grammars like AAB, ABA, and ABB. It would be extremely interesting to try complicating grammars like this & seeing to what extent children could still recognize them. Grammars of this sort form at least one component of rhythm. For the purposes of rhythmic production you could view a rhythm as=20 a pattern of transformations of an underlying beat.   For example,   AB ->  q (ee) q (ee) ... where q =3D quarter & e =3D=20 eighth. ABA -> q (ee) q AABA -> q q (ee) q   ABAC -> q (ee) q (j) where j is a jagged rhythm like 3::1 or 2:;1.   In devising such a grammar it is important to remember the sorts of results associated with Gentner's analogical experiments, where "structure" rather than "feature" can dominate (in reference to which Marcus' "Algebraic Mind" might also help). What Gentner is calling "structure" seems to include something I call "place pattern" -- a variation that occurs in the same place in a repeated pattern, for example   AABA AACA   The pattern consists of 4 terms, of which all are the same except the third. These are analogues in some sense irrespective of what B & C stand for. They are in a structural sense sense simpler than ABAA AAAC, in which the variation here does not come in the same place. (Or create a finer segmentation: AB AA AA AC: let a grammatical rule be "the 2nd term is diferent from the first". The rule is satisfied in the pattern 1001, whereas in the first case the rule "the 3rd term is different" is satisfied in the pattern 11, which=20 is obviously simpler than 1001.)   The schema of the pattern is AAxA. The x could stand for a simple pattern that is deployed one term at a time per repetition of the main schema. It could be "BCBC," giving   AABA AACA AABA AACA   Would 7-month olds recognize this a grammar (especially because of the recursion)? My guess is yes. It would probably not be too hard to get some limits on what sorts of complications would still be discernible but as far as I know no such work has been carried out.   To realize this rhythmically, eg: AABA AACA =3D> (ee) (ee) q (ee) / (ee) (ee) (triplet) (ee). But note that the terms could represent different sounds played at constant beat: the result would still be rhythmically differented. The sounds could be a ratttle & a bell, eg.   How to rate complexity? The above rhythm is probably simpler than (ee) q (ee) (ee) (ee) (ee) (triplet) (ee). You could rate this using the sorts of metrics devised by Chomsky &Halle, Leeuwenberg, etc: just count symbols once the pattern has been reduced via a pattern reduction grammar.  Intuitively, AB is simpler than ABA. But it is not certain that ABA is simpler than AABA, which permits a duple structural division where the first does not, so that the whole, in some sense, is reducible to AB, or this is what the pattern reduction grammar should do. Notice that without considering place patterns, it's not likely that the metric can have much predictive utility. I've worked extensively on this, but my results are not published.   At any rate, following these suggestions it should be rather easy=20 to devise a test rhythmic set with more or less controlled degree of complexity variation.   --------------------------------   From Daniele Schon   Dear Ani, There is a paper by Fries and Swihart, I think 1990, using a simple rhythmic battery of increasing difficulty. I have a midi version of that, as well as a test on simple rhythm reproduction I developed You can find it here http://www.incm.cnrs-mrs.fr/pperso/attach/schon/schon_battery.z= ip [ www.incm.cnrs-mrs.fr/pperso/attach/schon/schon_batter= y.zip ]    fries_swi.mid rhythm_reprod.mid   ---------------   From Georgios Papadelis   We developed a rhythm copying test in collaboration with Katie Overy.   =93Rhythmologos=94: A test battery and related software tools for the assessment of basic musical skills in children   =93Rhythmologos=94 is a test battery of musical aptitude adapted from the MATs (see Overy et al., 2003). It consists of simplified tests of the MATs developed by Dr Overy (Edinburgh University =96 UK) and Dr. Papadelis (Aristotle University of Thessaloniki =96 Greece), which were piloted and decided as being suitable for children with learning disabilities, who may have difficulties concentrating for long periods at a time. Those tests are mainly focused on the assessment of musical timing skills Analysis of already collected data has shown that the test functions well with typically developing children between 5 and 10 years old, which reveals that it can provide reliable measures of children's musical timing performance through the elaboration of simple rhythm reproduction and rhythm discrimination tasks.   A description of a web-based version of =93Rhythmologos=94 (Papadelis et al= ., 2006) was first presented at the Conference on Rhythm, Time and Temporal Organization (Institute for Music in Human and Social Development, June 2006, Edinburgh, Scotland). A current Windows-based offline version of the battery is available to researchers who conduct research on children's musical development and has already been used in a couple of related projects around the world (Boston, Germany, Greece, Hong-Kong). Further description of the tests, together with related research data are also reported in Krommyda et al. 2008 (see references below).   For further details please contact Dr. Georgios Papadelis (<a href=3D"mailto:papadeli@xxxxxxxx">papadeli@xxxxxxxx</a>)   References   1) Krommyda, M., Papadelis, G., Chatzikallia, K., Pastiadis, K. & Kardaras, P. (2008). Does awareness of musical structure relate to general cognitive and literacy profile in children with learning disabilities? Proceedings of the Fourth conference on Interdisciplinary Musicology (CIM 08). Thessaloniki, Greece. <a href=3D"http://users.auth.gr/~papadeli/PUBLICATIONS/Krommyda_Papadelis%2= 0CIM08.pdf">http://users.auth.gr/~papadeli/PUBLICATIONS/Krommyda_Papadelis%= 20CIM08.pdf</a>   2) Overy, K.; Nicolson, R.; Fawcett, A. and Clarke, E. (2003). Dyslexia and Music: Measuring Musical Timing Skills. DYSLEXIA, 9, 18-36.   3) Papadelis, G., Pastiadis, K., Georgiopoulos, P., Fouloulis, A. & Overy, K. (2006). =93Rhythmol=F3gos=94: A web-based environment for musical timing test procedures. (poster presentation). Conference on Rhythm, Time and Temporal Organization. Institute for Music in Human and Social Development, Edinburgh, Scotland. <a href=3D"http://users.auth.gr/~papadeli/PUBLICATIONS/RHYTHMOLOGOS.pdf">ht= tp://users.auth.gr/~papadeli/PUBLICATIONS/RHYTHMOLOGOS.pdf</a>   ----------------- From Ted Moallem   One method that has been suggested to me for assessing rhythm following is "reiterant speech", where the child attempts to reproduce a prosodic/rhythmic pattern by repeating a predetermined monosyllable  --- kind of like a directed form of babbling. <x-sigsep></x-sigsep> Aniruddh D. Patel, Ph.D. Esther J. Burnham Senior Fellow The Neurosciences Institute 10640 John Jay Hopkins Drive San Diego, CA 92121 858-626-2085 tel 858-626-2099 fax apatel@xxxxxxxx <a href=3D"http://www.nsi.edu/users/patel" eudora=3D"autourl">http://www.ns= i.edu/users/patel </a></body> </html> --=====================_7256343==.ALT--

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