SV: [AUDITORY] Adaptation to beat (Guy Madison )


Subject: SV: [AUDITORY] Adaptation to beat
From:    Guy Madison  <Guy.Madison@xxxxxxxx>
Date:    Thu, 28 Jul 2011 14:39:00 +0200
List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>

--_000_61310E38B60C8F4AB59757E88A3C96771092E31428UMDACCCR2adum_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Gualtiero and list, "Dear List, We are working at a project where we need to assess the continuous adaptati= on of the movement of a user to the beat of music (even in presence of chan= ges in the music and in the beat). Do you know about any studies on that? In particular, do you know whether there is an average adaptation time that= we can use in the analysis? Thanks! Best regards, Gualtiero Volpe" Your question seems to be relevant for these studies, although they did not= use real music, but more or less complex rhythmic structures: Madison, G. (2009). An auditory illusion of infinite tempo change based on = multiple temporal levels. PLoS ONE, 4(12), e8151. http://dx.plos.org/10.137= 1/journal.pone.0008151 Merker, B., Madison, G., & Eckerdal, P. (2009). On the role and origin of i= sochrony in human rhythmic entrainment. Cortex, 45(1), 4-17. doi:10.1016/j.= cortex.2008.06.011 Madison, G., & Merker, B. (2005). Timing of action during and after synchro= nization with linearly changing intervals. Music Perception, 22, 441-459. d= oi:10.1525/mp.2005.22.3.441 Madison, G., & Merker, B. (2004). Human sensorimotor tracking of continuous= subliminal deviations from isochrony. Neuroscience Letters, 370, 69-73. do= i:10.1016/j.neulet.2004.07.094 ...and also the following ones: Elliott, M. T., Welchman, A. E., & Wing, A. M. (2009). Being discrete helps= keep to the beat. Experimental Brain Research, 192, 731-737 Franek, M., Radil, T., & Indra, M. (1988). Tracking irregular acoustic patt= erns by finger tapping. International Journal of Psychophysiology, 6, 327-3= 30 Franek, M., Mates, J., Radil, T., Beck, K., & P=F6ppel, E. (1994). Sensorim= otor synchronization: Motor responses to pseudoregular auditory patterns. P= erception & Psychophysics, 55, 204-217 Hary, D. & Moore, G. P. (1985). Temporal tracking and synchronization strat= egies. Human Neurobiology, 4, 73-77 Mac Dorman, C. F. (1962). Synchronization with auditory models of varying c= omplexity. Perceptual and Motor Skills, 15, 595-602 Michon, J. A. (1967). Timing in temporal tracking. Assen, the Netherlands: = Van Gorcum. Michon, J. A. & Van der Valk, N. J. L. (1967). A dynamic model of timing be= havior. Acta Psychologica, 27, 204-212 Michon, J. A. (1968). A model of some temporal relations in human behavior.= Psychological Research, 31, 287-298.PM:0005702086 Repp, B. H. (2000). Compensation for subliminal timing perturbations in per= ceptual-motor synchronization. Psychological Research, 63, 106-128 Repp, B. H. (2001). Processes underlying adaptation to tempo changes in sen= sorimotor synchronization. Human Movement Science, 20, 277-312 Repp, B. H. (2001). Phase correction, phase resetting, and phase shifts aft= er subliminal timing perturbations in sensorimotor synchronization. Journal= of Experimental Psychology: Human Perception and Performance, 27, 600-621 Repp, B. H. & Penel, A. (2002). Auditory dominance in temporal processing: = New evidence from synchronization with simultaneous visual and auditory seq= uences. Journal of Experimental Psychology: Human Perception and Performanc= e, 28, 1085-1099 Repp, B. H. (2002). Phase correction in sensorimotor synchronization: nonli= nearities in voluntary and involuntary responses to perturbations. Human Mo= vement Science, 21, 1-37 Repp, B. H. & Keller, P. E. (2008). Sensorimotor synchronization with adapt= ively timed sequences. Human Movement Science, 27, 423-456 Repp, B. H. (2010). Sensorimotor synchronization and perception of timing: = effects of music training and task experience. Human Movement Science, 29, = 200-213 Schulze, H. H. (1992). The error correction model for the tracking of a ran= dom metronome: Statistical properties and an empirical test. In F.Macar, V.= Pouthas, & W. J. Friedman (Eds.), Time, action and cognition (pp. 275-286)= . Dordrecht, the Netherlands: Kluwer. Takano, K. & Miyake, Y. (2007). Two types of phase correction mechanism inv= olved in synchronized tapping. Neuroscience Letters, 417, 196-200 Thaut, M. H., Tian, B., & Azimi-Sadjadi, M. R. (1998). Rhythmic finger tapp= ing to cosine-wave modulated metronome sequences: Evidence of subliminal en= trainment. Human Movement Science, 17, 839-863 Vardy, A. N., Daffertshofer, A., & Wing, A. M. (2008). Tapping with intenti= onal drift. Experimental Brain Research, 192, 615-625 Guy -- "Neuroscience without Psychology is just a mess of neurons" / Anonymous "Man is the only creature that refuses to be what she is" / Albert Camus "It takes a great mind to see the greatness in other people's minds" --_000_61310E38B60C8F4AB59757E88A3C96771092E31428UMDACCCR2adum_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable <html xmlns:v=3D"urn:schemas-microsoft-com:vml" xmlns:o=3D"urn:schemas-micr= osoft-com:office:office" xmlns:w=3D"urn:schemas-microsoft-com:office:word" = xmlns:m=3D"http://schemas.microsoft.com/office/2004/12/omml" xmlns=3D"http:= //www.w3.org/TR/REC-html40"><head><meta http-equiv=3DContent-Type content= =3D"text/html; charset=3Diso-8859-1"><meta name=3DGenerator content=3D"Micr= osoft Word 12 (filtered medium)"><style><!-- /* Font Definitions */ @xxxxxxxx {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4;} @xxxxxxxx {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4;} @xxxxxxxx {font-family:Consolas; panose-1:2 11 6 9 2 2 4 3 2 4;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {margin:0cm; margin-bottom:.0001pt; font-size:11.0pt; font-family:"Calibri","sans-serif";} a:link, span.MsoHyperlink {mso-style-priority:99; color:blue; text-decoration:underline;} a:visited, span.MsoHyperlinkFollowed {mso-style-priority:99; color:purple; text-decoration:underline;} p.MsoPlainText, li.MsoPlainText, div.MsoPlainText {mso-style-priority:99; mso-style-link:"Oformaterad text Char"; margin:0cm; margin-bottom:.0001pt; font-size:10.5pt; font-family:Consolas;} span.OformateradtextChar {mso-style-name:"Oformaterad text Char"; mso-style-priority:99; mso-style-link:"Oformaterad text"; font-family:Consolas;} span.E-postmall19 {mso-style-type:personal; font-family:"Calibri","sans-serif"; color:windowtext;} p.Testonormale, li.Testonormale, div.Testonormale {mso-style-name:"Testo normale"; mso-style-link:"Testo normale Carattere"; margin:0cm; margin-bottom:.0001pt; font-size:11.0pt; font-family:"Calibri","sans-serif";} span.TestonormaleCarattere {mso-style-name:"Testo normale Carattere"; mso-style-priority:99; mso-style-link:"Testo normale"; font-family:Consolas;} span.E-postmall22 {mso-style-type:personal-reply; font-family:"Calibri","sans-serif"; color:#1F497D;} p.APAReferences, li.APAReferences, div.APAReferences {mso-style-name:"APA References"; mso-style-priority:99; margin-top:6.0pt; margin-right:0cm; margin-bottom:2.0pt; margin-left:14.2pt; text-indent:-14.2pt; text-autospace:none; font-size:10.0pt; font-family:"Times New Roman","serif";} .MsoChpDefault {mso-style-type:export-only; font-size:10.0pt;} @xxxxxxxx WordSection1 {size:612.0pt 792.0pt; margin:72.0pt 72.0pt 72.0pt 72.0pt;} div.WordSection1 {page:WordSection1;} --></style><!--[if gte mso 9]><xml> <o:shapedefaults v:ext=3D"edit" spidmax=3D"1026" /> </xml><![endif]--><!--[if gte mso 9]><xml> <o:shapelayout v:ext=3D"edit"> <o:idmap v:ext=3D"edit" data=3D"1" /> </o:shapelayout></xml><![endif]--></head><body lang=3DSV link=3Dblue vlink= =3Dpurple><div class=3DWordSection1><p class=3DMsoNormal><span style=3D'col= or:#1F497D'>Dear Gualtiero and list,<o:p></o:p></span></p><p class=3DMsoNor= mal><span style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMs= oPlainText><span lang=3DEN-US style=3D'font-family:"Calibri","sans-serif";c= olor:#1F497D'>&#8221;</span><span lang=3DEN-US>Dear List,<o:p></o:p></span>= </p><p class=3DMsoPlainText><span lang=3DEN-US><o:p>&nbsp;</o:p></span></p>= <p class=3DMsoPlainText><span lang=3DEN-US>We are working at a project wher= e we need to assess the continuous adaptation of the movement of a user to = the beat of music (even in presence of changes in the music and in the beat= ). Do you know about any studies on that? <o:p></o:p></span></p><p class=3D= MsoPlainText><span lang=3DEN-US>In particular, do you know whether there is= an average adaptation time that we can use in the analysis?<o:p></o:p></sp= an></p><p class=3DMsoPlainText><span lang=3DEN-US><o:p>&nbsp;</o:p></span><= /p><p class=3DMsoPlainText><span lang=3DEN-US>Thanks! <o:p></o:p></span></p= ><p class=3DMsoPlainText><span lang=3DEN-US>Best regards,<o:p></o:p></span>= </p><p class=3DMsoPlainText><span lang=3DEN-US>Gualtiero Volpe</span><span = lang=3DEN-US style=3D'font-family:"Calibri","sans-serif";color:#1F497D'>&#8= 221;<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'= color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><span lang= =3DEN-US style=3D'color:#1F497D'>Your question seems to be relevant for the= se studies, although they did not use real music, but more or less complex = rhythmic structures:<o:p></o:p></span></p><p class=3DMsoNormal><span lang= =3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DAPA= References><span lang=3DEN-GB>Madison, G. (2009). An auditory illusion of i= nfinite tempo change based on multiple temporal levels. PLoS ONE, 4(12), e8= 151. </span><span lang=3DEN-US style=3D'font-family:"Arial","sans-serif";la= yout-grid-mode:line'>http://dx.plos.org/10.1371/journal.pone.0008151</span>= <span lang=3DEN-GB><o:p></o:p></span></p><p class=3DAPAReferences><span lan= g=3DEN-GB>Merker, B., Madison, G., &amp; Eckerdal, P. (2009). On the role a= nd origin of isochrony in human rhythmic entrainment. <i>Cortex, 45(1),</i>= 4-17<i>.</i> </span><span lang=3DEN-GB style=3D'font-family:"Arial","sans-= serif"'>doi:10.1016/j.cortex.2008.06.011</span><span lang=3DEN-GB>=A0 <o:p>= </o:p></span></p><p class=3DAPAReferences><span lang=3DEN-GB>Madison, G., &= amp; Merker, B. (2005). Timing of action during and after synchronization w= ith linearly changing intervals. <i>Music Perception, 22</i>, 441-459. </sp= an><span lang=3DEN-GB style=3D'font-family:"Arial","sans-serif"'>doi:10.152= 5/mp.2005.22.3.441</span><span lang=3DEN-GB><o:p></o:p></span></p><p class= =3DAPAReferences><span lang=3DEN-GB>Madison, G., &amp; Merker, B. (2004). H= uman sensorimotor tracking of continuous subliminal deviations from isochro= ny. <i>Neuroscience Letters, 370</i>, 69-73. </span><span lang=3DEN-GB styl= e=3D'font-family:"Arial","sans-serif"'>doi:10.1016/j.neulet.2004.07.094</sp= an><span lang=3DEN-GB> <o:p></o:p></span></p><p class=3DMsoNormal><span lan= g=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMs= oNormal><span lang=3DEN-US style=3D'color:#1F497D'>&#8230;and also the foll= owing ones:<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US st= yle=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><spa= n lang=3DEN-US style=3D'color:#1F497D'>Elliott, M. T., Welchman, A. E., &am= p; Wing, A. M. (2009). Being discrete helps keep to the beat. Experimental = Brain Research, 192, 731-737<o:p></o:p></span></p><p class=3DMsoNormal><spa= n lang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class= =3DMsoNormal><span style=3D'color:#1F497D'>Franek, M., Radil, T., &amp; Ind= ra, M. (1988). </span><span lang=3DEN-US style=3D'color:#1F497D'>Tracking i= rregular acoustic patterns by finger tapping. International Journal of Psyc= hophysiology, 6, 327-330<o:p></o:p></span></p><p class=3DMsoNormal><span la= ng=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DM= soNormal><span lang=3DEN-US style=3D'color:#1F497D'>Franek, M., Mates, J., = Radil, T., Beck, K., &amp; P=F6ppel, E. (1994). Sensorimotor synchronizatio= n: Motor responses to pseudoregular auditory patterns. Perception &amp; Psy= chophysics, 55, 204-217<o:p></o:p></span></p><p class=3DMsoNormal><span lan= g=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMs= oNormal><span lang=3DEN-US style=3D'color:#1F497D'>Hary, D. &amp; Moore, G.= P. (1985). Temporal tracking and synchronization strategies. Human Neurobi= ology, 4, 73-77<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-U= S style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal>= <span lang=3DEN-US style=3D'color:#1F497D'>Mac Dorman, C. F. (1962). Synchr= onization with auditory models of varying complexity. Perceptual and Motor = Skills, 15, 595-602<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3D= EN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNor= mal><span lang=3DEN-US style=3D'color:#1F497D'>Michon, J. A. (1967). Timing= in temporal tracking. Assen, the Netherlands: Van Gorcum.<o:p></o:p></span= ></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D'><o:p>&= nbsp;</o:p></span></p><p class=3DMsoNormal><span style=3D'color:#1F497D'>Mi= chon, J. A. &amp; Van der Valk, N. J. L. (1967). </span><span lang=3DEN-US = style=3D'color:#1F497D'>A dynamic model of timing behavior. Acta Psychologi= ca, 27, 204-212<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-U= S style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal>= <span lang=3DEN-US style=3D'color:#1F497D'>Michon, J. A. (1968). A model of= some temporal relations in human behavior. Psychological Research, 31, 287= -298.PM:0005702086<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DE= N-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNorm= al><span lang=3DEN-US style=3D'color:#1F497D'>Repp, B. H. (2000). Compensat= ion for subliminal timing perturbations in perceptual-motor synchronization= . Psychological Research, 63, 106-128<o:p></o:p></span></p><p class=3DMsoNo= rmal><span lang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p= ><p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D'>Repp, B. H= . (2001). Processes underlying adaptation to tempo changes in sensorimotor = synchronization. Human Movement Science, 20, 277-312<o:p></o:p></span></p><= p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;<= /o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F4= 97D'>Repp, B. H. (2001). Phase correction, phase resetting, and phase shift= s after subliminal timing perturbations in sensorimotor synchronization. Jo= urnal of Experimental Psychology: Human Perception and Performance, 27, 600= -621<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'= color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><span style= =3D'color:#1F497D'>Repp, B. H. &amp; Penel, A. (2002). </span><span lang=3D= EN-US style=3D'color:#1F497D'>Auditory dominance in temporal processing: Ne= w evidence from synchronization with simultaneous visual and auditory seque= nces. Journal of Experimental Psychology: Human Perception and Performance,= 28, 1085-1099<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US= style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><= span lang=3DEN-US style=3D'color:#1F497D'>Repp, B. H. (2002). Phase correct= ion in sensorimotor synchronization: nonlinearities in voluntary and involu= ntary responses to perturbations. Human Movement Science, 21, 1-37<o:p></o:= p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D= '><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><span style=3D'color:#1F= 497D'>Repp, B. H. &amp; Keller, P. E. (2008). </span><span lang=3DEN-US sty= le=3D'color:#1F497D'>Sensorimotor synchronization with adaptively timed seq= uences. Human Movement Science, 27, 423-456<o:p></o:p></span></p><p class= =3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></= span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'color:#1F497D'>Re= pp, B. H. (2010). Sensorimotor synchronization and perception of timing: ef= fects of music training and task experience. Human Movement Science, 29, 20= 0-213<o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D= 'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><span lang= =3DEN-US style=3D'color:#1F497D'>Schulze, H. H. (1992). The error correctio= n model for the tracking of a random metronome: Statistical properties and = an empirical test. In F.Macar, V. Pouthas, &amp; W. J. Friedman (Eds.), Tim= e, action and cognition (pp. 275-286). Dordrecht, the Netherlands: Kluwer.<= o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'color= :#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMsoNormal><span lang=3DEN-= US style=3D'color:#1F497D'>Takano, K. &amp; Miyake, Y. (2007). Two types of= phase correction mechanism involved in synchronized tapping. Neuroscience = Letters, 417, 196-200<o:p></o:p></span></p><p class=3DMsoNormal><span lang= =3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3DMso= Normal><span lang=3DEN-US style=3D'color:#1F497D'>Thaut, M. H., Tian, B., &= amp; Azimi-Sadjadi, M. R. (1998). Rhythmic finger tapping to cosine-wave mo= dulated metronome sequences: Evidence of subliminal entrainment. Human Move= ment Science, 17, 839-863<o:p></o:p></span></p><p class=3DMsoNormal><span l= ang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><p class=3D= MsoNormal><span lang=3DEN-US style=3D'color:#1F497D'>Vardy, A. N., Dafferts= hofer, A., &amp; Wing, A. M. (2008). Tapping with intentional drift. Experi= mental Brain Research, 192, 615-625<o:p></o:p></span></p><p class=3DMsoNorm= al><span lang=3DEN-US style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p><= div><p class=3DMsoNormal><span lang=3DEN-US style=3D'font-size:10.5pt;font-= family:Consolas;color:#1F497D'>Guy<o:p></o:p></span></p><p class=3DMsoNorma= l><span lang=3DEN-US style=3D'font-size:10.5pt;font-family:Consolas;color:#= 1F497D'>-- <o:p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US st= yle=3D'font-size:12.0pt;color:#1F497D'>&quot;Neuroscience without Psycholog= y is just a mess of neurons&quot; / Anonymous</span><span lang=3DEN-US styl= e=3D'font-size:12.0pt;color:#1F497D'><o:p></o:p></span></p><p class=3DMsoNo= rmal><span lang=3DEN-US style=3D'font-size:12.0pt;color:#1F497D'>&quot;Man = is the only creature that refuses to be what she is&quot; / Albert Camus<o:= p></o:p></span></p><p class=3DMsoNormal><span lang=3DEN-US style=3D'font-si= ze:12.0pt;color:#1F497D'>&quot;It takes a great mind to see the greatness i= n other people's minds&quot; <o:p></o:p></span></p><p class=3DMsoNormal><sp= an lang=3DEN-US style=3D'font-size:12.0pt;color:#1F497D'><o:p>&nbsp;</o:p><= /span></p></div></div></body></html>= --_000_61310E38B60C8F4AB59757E88A3C96771092E31428UMDACCCR2adum_--


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