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Synchronization and Continuation Tapping to Complex Meters

Joel S. Snyder 1 , Erin E. Hannon 2 , Edward W. Large 3 , & Morten H. Christiansen 2 1 The Rotman Research Institute, Baycrest Centre for Geriatric Care 2 Department of Psychology, Cornell University 3 Center for Complex Systems and Brain Sciences, Florida Atlantic University.

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Synchronization and Continuation Tapping to Complex Meters

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  1. Joel S. Snyder1, Erin E. Hannon2, Edward W. Large3, & Morten H. Christiansen2 1The Rotman Research Institute, Baycrest Centre for Geriatric Care 2Department of Psychology, Cornell University 3Center for Complex Systems and Brain Sciences, Florida Atlantic University RPPW 2005: Bilzen, Belgium Synchronization and Continuation Tapping to Complex Meters

  2. “Western” meters contain beat levels that are isochronous and in simple integer ratios (e.g., 2:1, 3:1) within and between levels Complex meters contain one or more levels of non-isochronous beat levels with non-simple integer ratios within and between levels (e.g., 3:2) Appear in the folk music of several cultures, most notably in Balkan countries (Bulgaria, Macedonia, Greece) Used in music for dance, songs, children Complex meters

  3. 250 ms 500/750 ms 500 500 750 500 500 750 1750 ms 250 ms 500/750 ms 750 500 500 750 500 500 1750 ms Complex meters 7/8: 2-2-3 7/8: 3-2-2

  4. North American adults have difficulty noticing temporal changes that disrupt complex (but not simple) meter beat structure… but Bulgarian and Macedonian adults and 6-month old North American infants notice disruptions for both (Hannon & Trehub, 2005) Experienced North American adult listeners stretch 3:2 ratios toward 2:1 during synchronization, mean = ~1.75 (Repp et al., in press) Are complex meters more difficult?

  5. To what extent can North American adults with a range of musical experience follow and represent the non-isochronous beat of complex meter stimuli? To what extent does musical structure reinforce the non-isochronous beat structure and lower variability of tapping? What is the relative influence of temporal grouping vs. metrical structure in determining tapping performance? Questions

  6. 24 undergraduate students (M=11,F=13); age=18-25 years; 0-16 years of musical experience L interval = 750 ms, S interval = 500 ms, measure = 1750 ms Synchronization: Subjects tap to drum patterns (woodblock) in 2-2-3 or 3-2-2 accompanied by one of 24 melodies in 2-2-3 or 3-2-2 (flute) Continuation: Subjects continue tapping with or without melody with drum turned off (blocked) 2-2-3, match, present 3-2-2, mismatch, absent Method

  7. Taps times (T) and stimulus times (S) normalized from 0-1 Ratio of long:short inter-tap interval indexes ability to follow and represent beat Coefficient of variation (CV) of tap position indexes overall difficulty Coefficient of delay (CDel) indexes tap timing relative to beat 3-way repeated measures ANOVA: Meter of drum (2) x match/mismatch (2) x present/absent melody during continuation (2) Data analysis

  8. Continuation taps at beat 1 fixed to time 0 Results: Bird’s eye view

  9. Ratios fall between 1.5 and 2.0 (mean=1.679 for S and 1.732 for C) Synchronization: 3-2-2 is closer to complex ratio than 2-2-3 (p<.05) Results: Ratio

  10. Ratios fall between 1.5 and 2.0 (mean=1.679 for S and 1.732 for C) Synchronization: 3-2-2 is closer to complex ratio than 2-2-3 (p<.05) Continuation: No main effect of meter Ratio is closer to complex meter when melody is present (p<.01) No correlations with musical experience Results: Ratio

  11. Results: Variability • Synchronization: • Higher CV in 3-2-2 (p<.001), despite better ratio • Higher CV for mismatching melody in 3-2-2 but not 2-2-3 (p<.025)

  12. Results: Variability • Synchronization: • Higher CV in 3-2-2 (p<.001), despite better ratio • Higher CV for mismatching melody in 3-2-2 but not 2-2-3 (p<.025) • Continuation (beats 2 & 3 only): • No main effect of meter or match/mismatch • Higher CV when melody is present (p<.005), due to error correction processes?

  13. Long<Short2<Short1 (p<.001) More negative CDel for 3-2-2 (p<.025) Meter x Beat interaction (p<.025), due to earlier tapping on Short2 in 3-2-2 Results: Delay (Synchronization)

  14. North American adults with a range of experience with western music are able to produce ratios between 1.5 and 2.0 (cf. Hannon & Trehub, 2005; Repp et al., in press) Presence of melodies facilitate production of complex meters during continuation Tapping is less variable in 3-2-2 when the melody matches the meter (but not in 2-2-3) Pattern of negative asynchronies determined more by temporal grouping (Long<Short2<Short 1) than meter (Repp et al., in press Question: Do people raised with complex meters show similar types of biases in production? Summary and conclusions

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