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.

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Presentation transcript:

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 RPPW 2005: Bilzen, Belgium

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

Are complex meters more difficult? 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)

Questions 1. To what extent can North American adults with a range of musical experience follow and represent the non-isochronous beat of complex meter stimuli? 2. To what extent does musical structure reinforce the non- isochronous beat structure and lower variability of tapping? 3. What is the relative influence of temporal grouping vs. metrical structure in determining tapping performance?

Method 24 undergraduate students (M=11,F=13); age=18-25 years; years of musical experience L interval = 750 ms, S interval = 500 ms, measure = 1750 ms Synchronization: Subjects tap to drum patterns (woodblock) in or accompanied by one of 24 melodies in or (flute) Continuation: Subjects continue tapping with or without melody with drum turned off (blocked) 2-2-3, match, present3-2-2, mismatch, absent

Data analysis 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)

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

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

Results: Ratio Ratios fall between 1.5 and 2.0 (mean=1.679 for S and for C) Synchronization: is closer to complex ratio than (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: Variability Synchronization: Higher CV in (p<.001), despite better ratio Higher CV for mismatching melody in but not (p<.025)

Results: Variability Synchronization: Higher CV in (p<.001), despite better ratio Higher CV for mismatching melody in but not (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?

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

Summary and conclusions 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 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?