What makes a rhythm complex? The influence of musical training and accent type on beat perception

Perception of a regular beat in music is inferred from different types of accents. For example, increases in loudness cause intensity accents, and the grouping of time intervals in a rhythm creates temporal accents. Accents are expected to occur on the beat: when accents are “missing” on the beat, the beat is more difficult to find. However, it is unclear whether accents occurring off the beat alter beat perception similarly to missing accents on the beat. Moreover, no one has examined whether intensity accents influence beat perception more or less strongly than temporal accents, nor how musical expertise affects sensitivity to each type of accent. In two experiments, we obtained ratings of difficulty in finding the beat in rhythms with either temporal or intensity accents, and which varied in the number of accents on the beat as well as the number of accents off the beat. In both experiments, the occurrence of accents on the beat facilitated beat detection more in musical experts than in musical novices. In addition, the number of accents on the beat affected beat finding more in rhythms with temporal accents than in rhythms with intensity accents. The effect of accents off the beat was much weaker than the effect of accents on the beat and appeared to depend on musical expertise, as well as on the number of accents on the beat: when many accents on the beat are missing, beat perception is quite difficult, and adding accents off the beat may not reduce beat perception further. Overall, the different types of accents were processed qualitatively differently, depending on musical expertise. Therefore, these findings indicate the importance of designing ecologically valid stimuli when testing beat perception in musical novices, who may need different types of accent information than musical experts to be able to find a beat. Furthermore, our findings stress the importance of carefully designing rhythms for social and clinical applications of beat perception, as not all listeners treat all rhythms alike.

[1]  M. Pearce,et al.  A Probabilistic Model of Meter Perception: Simulating Enculturation , 2017, Front. Psychol..

[2]  Björn Herrmann,et al.  What can we learn about beat perception by comparing brain signals and stimulus envelopes? , 2017, PloS one.

[3]  H. Honing,et al.  Disentangling beat perception from sequential learning and examining the influence of attention and musical abilities on ERP responses to rhythm , 2016, Neuropsychologia.

[4]  H. Honing,et al.  Temporal attending and prediction influence the perception of metrical rhythm: evidence from reaction times and ERPs , 2015, Front. Psychol..

[5]  Hugo Merchant,et al.  Finding the beat: a neural perspective across humans and non-human primates , 2015, Philosophical Transactions of the Royal Society B: Biological Sciences.

[6]  Jessica A. Grahn,et al.  Enhanced timing abilities in percussionists generalize to rhythms without a musical beat , 2014, Front. Hum. Neurosci..

[7]  Maria A. G. Witek,et al.  Effects of Polyphonic Context, Instrumentation, and Metrical Location on Syncopation in Music , 2014 .

[8]  Maria A. G. Witek,et al.  Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music , 2014, Front. Psychol..

[9]  H. Honing,et al.  Beat Processing Is Pre-Attentive for Metrically Simple Rhythms with Clear Accents: An ERP Study , 2014, PloS one.

[10]  Daniel Müllensiefen,et al.  The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population , 2014, PloS one.

[11]  Nina Kraus,et al.  Neural Entrainment to the Rhythmic Structure of Music , 2014, Journal of Cognitive Neuroscience.

[12]  Nina Kraus,et al.  Neural responses to sounds presented on and off the beat of ecologically valid music , 2013, Front. Syst. Neurosci..

[13]  Robert J. Zatorre,et al.  Interacting Cortical and Basal Ganglia Networks Underlying Finding and Tapping to the Musical Beat , 2013, Journal of Cognitive Neuroscience.

[14]  D. Schön,et al.  Rhythm implicitly affects temporal orienting of attention across modalities. , 2013, Acta psychologica.

[15]  S. Kotz,et al.  Dissociation of formal and temporal predictability in early auditory evoked potentials , 2013, Neuropsychologia.

[16]  Jessica A. Grahn,et al.  Neural Mechanisms of Rhythm Perception: Current Findings and Future Perspectives , 2012, Top. Cogn. Sci..

[17]  Jessica A. Grahn,et al.  Individual differences in rhythmic ability: Behavioral and neuroimaging investigations. , 2012 .

[18]  E. Pöppel,et al.  Body movement enhances the extraction of temporal structures in auditory sequences , 2012, Psychological research.

[19]  Jessica A. Grahn,et al.  Finding and Feeling the Musical Beat: Striatal Dissociations between Detection and Prediction of Regularity , 2012, Cerebral cortex.

[20]  B. Ross,et al.  Internalized Timing of Isochronous Sounds Is Represented in Neuromagnetic Beta Oscillations , 2012, The Journal of Neuroscience.

[21]  G. Madison,et al.  Modeling the tendency for music to induce movement in humans: first correlations with low-level audio descriptors across music genres. , 2011, Journal of experimental psychology. Human perception and performance.

[22]  Isabelle Peretz,et al.  Tagging the Neuronal Entrainment to Beat and Meter , 2011, The Journal of Neuroscience.

[23]  Peter A. Martens The Ambiguous Tactus: Tempo, Subdivision Benefit, And Three Listener Strategies , 2011 .

[24]  S. Kotz,et al.  Temporal regularity effects on pre-attentive and attentive processing of deviance , 2011, Biological Psychology.

[25]  Ovid J. L. Tzeng,et al.  Dynamic allocation of attention to metrical and grouping accents in rhythmic sequences , 2011, Experimental Brain Research.

[26]  Edward W. Large,et al.  Neural Responses to Complex Auditory Rhythms: The Role of Attending , 2010, Front. Psychology.

[27]  L. Jäncke,et al.  Refinement of metre perception – training increases hierarchical metre processing , 2010, The European journal of neuroscience.

[28]  B. Repp Do metrical accents create illusory phenomenal accents? , 2010, Attention, perception & psychophysics.

[29]  Joachim Kunert,et al.  Systematic variation improves reproducibility of animal experiments , 2010, Nature Methods.

[30]  James L Peugh,et al.  A practical guide to multilevel modeling. , 2010, Journal of school psychology.

[31]  J. Devin McAuley,et al.  Neural bases of individual differences in beat perception , 2009, NeuroImage.

[32]  R. Brochard,et al.  Brain Lateralization of Metrical Accenting in Musicians , 2009, Annals of the New York Academy of Sciences.

[33]  Aniruddh D. Patel,et al.  Top‐Down Control of Rhythm Perception Modulates Early Auditory Responses , 2009, Annals of the New York Academy of Sciences.

[34]  Jessica A. Grahn,et al.  Feeling the Beat: Premotor and Striatal Interactions in Musicians and Nonmusicians during Beat Perception , 2009, The Journal of Neuroscience.

[35]  M. Jones,et al.  The role of accent salience and joint accent structure in meter perception. , 2009, Journal of experimental psychology. Human perception and performance.

[36]  H. Honing,et al.  Exposure influences expressive timing judgments in music. , 2009, Journal of experimental psychology. Human perception and performance.

[37]  A. Roepstorff,et al.  Predictive coding of music – Brain responses to rhythmic incongruity , 2009, Cortex.

[38]  M. Grube,et al.  Metricality-enhanced temporal encoding and the subjective perception of rhythmic sequences , 2009, Cortex.

[39]  Esther Ziegler,et al.  Early electrophysiological correlates of meter and rhythm processing in music perception , 2009, Cortex.

[40]  Douglas D. Potter,et al.  Perceiving rhythm where none exists: Event-related potential (ERP) correlates of subjective accenting , 2009, Cortex.

[41]  James Carifio,et al.  Resolving the 50‐year debate around using and misusing Likert scales , 2008, Medical education.

[42]  Henkjan Honing,et al.  Web-based versus lab-based studies: A response to Kendall (2008) , 2008 .

[43]  Henry J. Gardner,et al.  Analyzing Ordinal Scales in Studies of Virtual Environments: Likert or Lump It! , 2007, PRESENCE: Teleoperators and Virtual Environments.

[44]  Matthew Brett,et al.  Rhythm and Beat Perception in Motor Areas of the Brain , 2007, Journal of Cognitive Neuroscience.

[45]  Robert J. Zatorre,et al.  Interactions between auditory and dorsal premotor cortex during synchronization to musical rhythms , 2006, NeuroImage.

[46]  R. Jackendoff,et al.  The capacity for music: What is it, and what’s special about it? , 2006, Cognition.

[47]  Sandra E. Trehub,et al.  Infants Perception of Rhythmic Patterns , 2006 .

[48]  A. Penel Hearing in time: Psychological aspects of musical meter. , 2006 .

[49]  Peter Vuust,et al.  To musicians, the message is in the meter: Pre-attentive neuronal responses to incongruent rhythm are left-lateralized in musicians , 2005, NeuroImage.

[50]  S. Jamieson Likert scales: how to (ab)use them , 2004, Medical education.

[51]  Tuomas Eerola,et al.  The role of melodic and temporal cues in perceiving musical meter. , 2004, Journal of experimental psychology. Human perception and performance.

[52]  C. Drake,et al.  The “Ticktock” of Our Internal Clock , 2003, Psychological science.

[53]  C. Drake,et al.  The development of rhythmic attending in auditory sequences: attunement, referent period, focal attending , 2000, Cognition.

[54]  C. Drake,et al.  Tapping in Time with Mechanically and Expressively Performed Music , 2000 .

[55]  E. Large On synchronizing movements to music , 2000 .

[56]  I. Shmulevich,et al.  Measures of Temporal Pattern Complexity , 2000 .

[57]  J. Devin McAuley,et al.  The Effect of Tempo and Musical Experience on Perceived Beat , 1999 .

[58]  Peter Q. Pfordresher,et al.  Tracking Musical Patterns using Joint Accent Structure , 1997 .

[59]  C. Krumhansl,et al.  Mental representations for musical meter. , 1990, Journal of experimental psychology. Human perception and performance.

[60]  Peter Essens,et al.  Perception of Temporal Patterns , 1985 .

[61]  Robert B. Cantrick,et al.  A Generative Theory of Tonal Music , 1985 .

[62]  Herbert Friedman,et al.  Simplified Determinations of Statistical Power, Magnitude of Effect and Research Sample Sizes , 1982 .

[63]  D. Povel,et al.  Accents in equitone sequences , 1981, Perception & psychophysics.

[64]  I. Peretz,et al.  UvA-DARE (Digital Academic Repository) Without it no music: Cognition, biology, and evolution of musicality , 2015 .

[65]  Fleur L. Bouwer,et al.  Perceiving temporal regularity in music: the role of auditory event-related potentials (ERPs) in probing beat perception. , 2014, Advances in experimental medicine and biology.

[66]  R Core Team,et al.  R: A language and environment for statistical computing. , 2014 .

[67]  Henkjan Honing,et al.  Structure and Interpretation of Rhythm in Music , 2013 .

[68]  E. Large Resonating to Musical Rhythm : Theory and Experiment , 2008 .

[69]  E. Large,et al.  The dynamics of attending: How people track time-varying events. , 1999 .