Abstract

In everyday life, we group and subdivide time to understand the sensory environment surrounding us. Organizing time in units, such as diurnal rhythms, phrases, and beat patterns, is fundamental to behavior, speech, and music. When listening to music, our perceptual system extracts and nests rhythmic regularities to create a hierarchical metrical structure that enables us to predict the timing of the next events. Foot tapping and head bobbing to musical rhythms are observable evidence of this process. In the special case of polyrhythms, at least two metrical structures compete to become the reference for these temporal regularities, rendering several possible beats with which we can synchronize our movements. While there is general agreement that tempo, pitch, and loudness influence beat perception in polyrhythms, we focused on the yet neglected influence of beat subdivisions, i.e., the least common denominator of a polyrhythm ratio. In three online experiments, 300 participants listened to a range of polyrhythms and tapped their index fingers in time with the perceived beat. The polyrhythms consisted of two simultaneously presented isochronous pulse trains with different ratios (2:3, 2:5, 3:4, 3:5, 4:5, 5:6) and different tempi. For ratios 2:3 and 3:4, we additionally manipulated the pitch of the pulse trains. Results showed a highly robust influence of subdivision grouping on beat perception. This was manifested as a propensity towards beats that are subdivided into two or four equally spaced units, as opposed to beats with three or more complex groupings of subdivisions. Additionally, lower pitched pulse trains were more often perceived as the beat. Our findings suggest that subdivisions, not beats, are the basic unit of beat perception, and that the principle underlying the binary grouping of subdivisions reflects a propensity towards simplicity. This preference for simple grouping is widely applicable to human perception and cognition of time.

Highlights

  • In speech, music, and natural environments, we automatically group, subdivide, and structure sound sequences evolving in time

  • Assuming that successful grouping of subdivisions is necessary for beat perception to occur [34], we have to move our research focus from the beat level to the subdivision level of the metrical structure —especially when assessing beat perception and sensorimotor synchronization in polyrhythms

  • To provide a comprehensive account of beat perception that takes into account the most basic level of the metrical hierarchy, the purpose of this online finger tapping study was to assess how subdivision grouping biases listeners to adopt one rather than another possible metrical structure inherent in a given polyrhythm consisting of two pulse trains

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Summary

Introduction

Music, and natural environments, we automatically group, subdivide, and structure sound sequences evolving in time. To provide a comprehensive account of beat perception that takes into account the most basic level of the metrical hierarchy, the purpose of this online finger tapping study was to assess how subdivision grouping biases listeners to adopt one rather than another possible metrical structure inherent in a given polyrhythm consisting of two pulse trains. Owing to their ambiguous nature, polyrhythms are ideal stimuli for assessing rhythmic interpretations in tapping studies. We report the results of preregistered main analyses (https://aspredicted.org/yi5si.pdf)

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Results and discussion
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