Inter-onset Intervals Research Articles

Rhythm Violation Enhances Auditory-Evoked Responses to the Extent of Overriding Sensory Adaptation in Passive Listening.

Sensory systems utilize temporal structure in the environment to build expectations about the timing of forthcoming events. We investigated the effects of rhythm-based temporal expectation on auditory responses measured with EEG recorded from the frontocentral sites implicated in auditory processing. By manipulating temporal expectation and the interonset interval (IOI) of tones, we examined how neural responses adapted to auditory rhythm and reacted to stimuli that violated the rhythm. Participants passively listened to the tones while watching a silent nature video. In Experiment 1 (n = 22), in the long-IOI block, tones were frequently presented (80%) with 1.7-sec IOI and infrequently presented (20%) with 1.2-sec IOI, generating unexpectedly early tones that violated temporal expectation. Conversely, in the short-IOI block, tones were frequently presented with 1.2-sec IOI and infrequently presented with 1.7-sec IOI, generating late tones. We analyzed the tone-evoked N1-P2 amplitude of ERPs and intertrial phase clustering in the theta-alpha band. The results provided evidence of strong delay-dependent adaptation effects (short-term, sensitive to IOI), weak cumulative adaptation effects (long-term, driven by tone repetition over time), and robust temporal-expectation violation effects over and above the adaptation effects. Experiment 2 (n = 22) repeated Experiment 1 with shorter IOIs of 1.2 and 0.7 sec. Overall, we found evidence of strong delay-dependent adaptation effects, weak cumulative adaptation effects (which may most efficiently accumulate at the tone presentation rate of ∼1 Hz), and robust temporal-expectation violation effects that substantially boost auditory responses to the extent of overriding the delay-dependent adaptation effects likely through mechanisms involved in exogenous attention.

The perceptual relevance of balance, evenness, and entropy in musical rhythms

There is an uncountable number of different ways of characterizing almost any given real-world stimulus. This necessitates finding stimulus features that are perceptually relevant – that is, they have distinct and independent effects on the perception and cognition of the stimulus. Here, we provide a theoretical framework for empirically testing the perceptual relevance of stimulus features through their association with recognition, memory bias, and æsthetic evaluation. We deploy this framework in the auditory domain to explore the perceptual relevance of three recently developed mathematical characterizations of periodic temporal patterns: balance, evenness, and interonset interval entropy. By modelling recognition responses and liking ratings from 177 participants listening to a total of 1252 different musical rhythms, we obtain very strong evidence that all three features have distinct effects on the memory for, and the liking of, musical rhythms. Interonset interval entropy is a measure of the unpredictability of a rhythm derived from the distribution of its durations. Balance and evenness are both obtained from the discrete Fourier transform (DFT) of periodic patterns represented as points on the unit circle, and we introduce a teleological explanation for their perceptual relevance: the DFT coefficients representing balance and evenness are relatively robust to small random temporal perturbations and hence are coherent in noisy environments. This theory suggests further research to explore the meaning and relevance of robust coefficients such as these to the perception of patterns that are periodic in time and, possibly, space.

Timing Markers of Interaction Quality During Semi-Hocket Singing.

Music is believed to work as a bio-social tool enabling groups of people to establish joint action and group bonding experiences. However, little is known about the quality of the group members’ interaction needed to bring about these effects. To investigate the role of interaction quality, and its effect on joint action and bonding experience, we asked dyads (two singers) to perform music in medieval “hocket” style, in order to engage their co-regulatory activity. The music contained three relative inter-onset-interval (IOI) classes: quarter note, dotted quarter note and eight note, marking time intervals between successive onsets (generated by both singers). We hypothesized that singers co-regulated their activity by minimizing prediction errors in view of stable IOI-classes. Prediction errors were measured using a dynamic Bayesian inference approach that allows us to identify three different types of error called fluctuation (micro-timing errors measured in milliseconds), narration (omission errors or misattribution of an IOI to a wrong IOI class), and collapse errors (macro-timing errors that cause the breakdown of a performance). These three types of errors were correlated with the singers’ estimated quality of the performance and the experienced sense of joint agency. We let the singers perform either while moving or standing still, under the hypothesis that the moving condition would have reduced timing errors and increased We-agency as opposed to Shared-agency (the former portraying a condition in which the performers blend into one another, the latter portraying a joint, but distinct, control of the performance). The results show that estimated quality correlates with fluctuation and narration errors, while agency correlates (to a lesser degree) with narration errors. Somewhat unexpectedly, there was a minor effect of movement, and it was beneficial only for good performers. Joint agency resulted in a “shared,” rather than a “we,” sense of joint agency. The methodology and findings open up promising avenues for future research on social embodied music interaction.

Sensorimotor synchronization and non-verbal behaviors in Alzheimer's disease: the influence of social and musical context

Considering the limited efficacy of pharmacological treatments, the use of musical interventions as non-drug treatment for patients with Alzheimer's disease are strongly recommended. Musical interventions seem to improve the socio-emotional and cognitive functioning of these patients, with benefits increasing when patients are engaged at the motor level. Our study evaluates the factors that may influence patients' socio-emotional and motor engagement during musical activities, and measures their sensorimotor synchronization (SMS) abilities. Each participant was asked to tap with a metronomic or a musical rhythm, in the presence of a musician who performed the task with them. The presence of the musician was real (live condition) or virtual (video condition). Two tempi were tested: a slow tempo (inter-onset interval of 800 ms) and a fast tempo (inter-onset interval of 667 ms). Patients spontaneously produced more rhythmic movements in response to the music than to the metronome. However, the consistency and accuracy of sensorimotor synchronization were better with the metronome than with the music, and also better in video than in live condition. These effects were modulated by the tempo of the auditory sequences. These results confirm the importance of the musical context and social interactions on these different performances. By evaluating in parallel the hand sensorimotor synchronization, spontaneous motor and socio-emotional behaviors with quantitative and controlled measurements, this study validates a multimodal approach to evaluate the patients' engagement in a musical task. These initial results open up promising application prospects while providing clinicians and researchers a rigorous methodology for understanding the factors that are at the origin of the therapeutic benefits of musical activities on the behavior and well-being of patients and their caregivers.

Can rhythm-induced attention improve the perceptual representation?

Temporal attention can be entrained exogenously to rhythms. Indeed, faster and more accurate responses were previously found when the target appeared in-phase with a preceding rhythm in comparison to when it was out of phase. However, the nature of this rhythm-induced attentional effect is not well understood. To better understand the processes underlying rhythm-induced attention, we employed a continuous measure of perceived orientation and a mixture-model analysis. A trial in our study started with a sequence of auditory beeps separated by a fixed inter-beeps interval in the regular (rhythmic) condition or by variable inter-beeps intervals in the irregular condition. A visual target-a line embedded in a circle-followed the sequence. The 'critical' interval between the last beep and the target was chosen randomly from several possible Inter-Onset Intervals (IOIs), of which only one was in-phase with the rhythm. The target was followed by a probe line, and the participants were asked to rotate it to reproduce the target's orientation. The measure of performance for a given trial was the difference in degrees between the orientation of the target and that reproduced by the observer. We found that guessing rate was lower with regular than irregular rhythms. However, there was no effect of rhythm type (regular vs irregular) on the quality of representation (measured as the variability in reproducing the target). Furthermore, the rhythm effect was present only when rhythm type was fixed within a block, and it was found with all IOIs, not just the in-phase IOI. This lack of specificity suggests that these results reflect a general effect of rhythm on alertness.

Steven MacGregor Demorest (1959-2019)

Steven Demorest, as both a scholar and a singer, had a voice that was strong and resonant. Steve’s passion for singing grew as an undergraduate in the Luther College choirs under the inspiring direction of Weston Noble, as a graduate student at Westminster Choir College, and through his doctoral work at the University of Wisconsin, where he encountered the choral artistry of Robert Fountain. His value for and pursuit of rigorous research and musical accomplishment—pairing the two while maintaining the integrity of each—characterized his contribution to the fields of choral music, music education, and music psychology. Rather than viewing musical excellence as exclusive, Steve saw musical achievement as something everyone could and should experience. He also believed that those responsible for guiding such experiences should be skilled as musicians and as teachers. Through a career that began at the University of North Texas, then at the University of Washington, and finally at Northwestern University, Steve worked tirelessly to bring about the best in music-making …

Comparison of Spontaneous Motor Tempo during Finger Tapping, Toe Tapping and Stepping on the Spot in People with and without Parkinson's Disease.

ObjectiveSpontaneous motor tempo (SMT), observed in walking, tapping and clapping, tends to occur around 2 Hz. Initiating and controlling movement can be difficult for people with Parkinson’s (PWP), but studies have not identified whether PWP differ from controls in SMT. For community-based interventions, e.g. dancing, it would be helpful to know a baseline SMT to optimize the tempi of cued activities. Therefore, this study compared finger tapping (FT), toe tapping (TT) and stepping ‘on the spot’ (SS) in PWP and two groups of healthy controls [age-matched controls (AMC) and young healthy controls (YHC)], as SMT is known to change with age.MethodsParticipants (PWP; n = 30, AMC; n = 23, YHC; n = 35) were asked to tap or step on the spot at a natural pace for two trials lasting 40 seconds. The central 30 seconds were averaged for analyses using mean inter-onset intervals (IOI) and coefficient of variation (CoV) to measure rate and variability respectively.ResultsPWP had faster SMT than both control groups, depending on the movement modality: FT, F(2, 87) = 7.92, p < 0.01 (PWP faster than YHC); TT, F(2, 87) = 4.89, p = 0.01 (PWP faster than AMC); and SS, F(2, 77) = 3.26, p = 0.04 (PWP faster than AMC). PWP had higher CoV (more variable tapping) than AMC in FT only, F(2, 87) = 4.10, p = 0.02.ConclusionThis study provides the first direct comparison of SMT between PWP and two control groups for different types of movements. Results suggest SMT is generally faster in PWP than control groups, and more variable when measured with finger tapping compared to stepping on the spot.

Relative contribution of pitch and brightness to the auditory kappa effect

Pitch height is known to interfere with temporal judgment. This is the case in the auditory kappa effect in which the relative degree of pitch distance separating two tones extends the perceived duration of the inter-onset interval (IOI). However, pitch variations which result from manipulations of the fundamental frequency of tones are associated with variations of the spectral centroid, which is related to the perceived brightness. The present study aimed at determining the relative contribution of pitch and brightness to the auditory kappa effect. Forty-eight participants performed an AXB paradigm (tone X was shifted to be closer to either tone A or B) in three conditions: the three tones varied in both pitch and brightness (PB condition), pitch varied but brightness was fixed (P condition) or brightness varied but pitch was fixed (B condition). Pitch and brightness were modified by manipulating the fundamental frequency (F0) and the spectral centroid of the tones, respectively. In each condition, the percentage of trials in which the first IOI was perceived as shorter increased as X was closer (in pitch and/or brightness) to A. Furthermore, the magnitude of the effect was larger in PB than in P condition, while it did not differ between PB and B conditions, suggesting that brightness would contribute more than pitch height to the auditory kappa effect. This study provides the first evidence that auditory brightness interferes with duration judgment and highlights the importance to consider jointly the role of pitch height and brightness in future studies on auditory temporal processing.

Moving in time: Simulating how neural circuits enable rhythmic enactment of planned sequences

Many complex actions are mentally pre-composed as plans that specify orderings of simpler actions. To be executed accurately, planned orderings must become active in working memory, and then enacted one-by-one until the sequence is complete. Examples include writing, typing, and speaking. In cases where the planned complex action is musical in nature (e.g. a choreographed dance or a piano melody), it appears to be possible to deploy two learned sequences at the same time, one composed from actions and a second composed from the time intervals between actions. Despite this added complexity, humans readily learn and perform rhythm-based action sequences. Notably, people can learn action sequences and rhythmic sequences separately, and then combine them with little trouble (Ullén & Bengtsson 2003). Related functional MRI data suggest that there are distinct neural regions responsible for the two different sequence types (Bengtsson et al. 2004). Although research on musical rhythm is extensive, few computational models exist to extend and inform our understanding of its neural bases. To that end, this article introduces the TAMSIN (Timing And Motor System Integration Network) model, a systems-level neural network model capable of performing arbitrary item sequences in accord with any rhythmic pattern that can be represented as a sequence of integer multiples of a base interval. In TAMSIN, two Competitive Queuing (CQ) modules operate in parallel. One represents and controls item order (the ORD module) and the second represents and controls the sequence of inter-onset-intervals (IOIs) that define a rhythmic pattern (RHY module). Further circuitry helps these modules coordinate their signal processing to enable performative output consistent with a desired beat and tempo.

Event-related potentials to single-cycle binaural beats and diotic amplitude modulation of a tone.

When two tones with slightly different frequencies are dichotically presented, binaural beats (BBs) are experienced. BBs resulting from the cycling change in interaural phase difference elicit electroencephalographic responses. Because they repeat at short periods, allowing poor recovery of the cortical responses, these steady-state responses have small amplitudes, and their various wave components intermingle and might mask each other. Using single-cycle BBs separated by relatively long inter-onset intervals would be a solution, but introducing a transient interaural frequency shift requires response subtraction which may not be acceptable for non-additive brain responses. The proposed stimulation method employs transient and monaurally subthreshold frequency shifts in opposite directions in the two ears to produce single-cycle BBs of a 250Hz tone. These shifts are perceived as distinct BBs when presented dichotically, but remain subthreshold when presented monotically. Therefore, no frequency-shift response is elicited, and the specific BB response is obtained with no need for waveform subtraction. We recorded from 19 normal hearing participants the event-related potentials (ERPs) to single-cycle BBs and also to temporary diotic amplitude modulation (AM) with matched perceptual salience. The ERPs to single-cycle BBs presented at 2s inter-onset intervals had N1-P2 responses with up to seven times larger amplitudes than the conventional steady-state BB responses in the literature. Significant differences were found between the scalp potential distributions of the N1 responses to BB and AM stimuli, suggesting that the cortical sites, where envelope-based level processing and temporal fine structure-based spatial processing of the stimulus take place, are not totally overlapped.

Weighting of neural prediction error by rhythmic complexity: A predictive coding account using mismatch negativity.

The human brain's ability to extract and encode temporal regularities and to predict the timing of upcoming events is critical for music and speech perception. This work addresses how these mechanisms deal with different levels of temporal complexity, here the number of distinct durations in rhythmic patterns. We use electroencephalography (EEG) to relate the mismatch negativity (MMN), a proxy of neural prediction error, to a measure of information content of rhythmic sequences, the Shannon entropy. Within each of three conditions, participants listened to repeatedly presented standard rhythms of fivetones (four inter-onset intervals) and of a given level of entropy: zero (isochronous), medium entropy (two distinct interval durations), or high entropy (four distinct interval durations). Occasionally, the fourth tone was moved forward in time that is it occurred 100 ms (small deviation) or 300 ms early (large deviation). According to the predictive coding framework, high-entropy stimuli are more difficult to model for the brain, resulting in less confident predictions and yielding smaller prediction errors for deviant sounds. Our results support this hypothesis, showing a gradual decrease in MMN amplitude as a function of entropy, but only for small timing deviants. For large timing deviants, in contrast, a modulation of activity in the opposite direction was observed for the earlier N1 component, known to also be sensitive to sudden changes in directed attention. Our results suggest the existence of a fine-grained neural mechanism that weights neural prediction error to the complexity of rhythms and that mostly manifests in the absence of directed attention.

Perceptual-learning evidence for inter-onset-interval- and frequency-specific processing of fast rhythms.

Rhythm is fundamental to music and speech, yet little is known about how even simple rhythmic patterns are processed. Here we investigated the processing of isochronous rhythms in the short inter-onset-interval (IOI) range (IOIs < 250-400 ms) using a perceptual-learning paradigm. Trained listeners (n=8) practiced anisochrony detection with a 100-ms IOI marked by 1-kHz tones, 720 trials per day for 7 days. Between pre- and post-training tests, trained listeners improved significantly more than controls (no training; n=8) on the anisochrony-detection condition that the trained listeners practiced. However, the learning on anisochrony detection did not generalize to temporal-interval discrimination with the trained IOI (100 ms) and marker frequency (1 kHz) or to anisochrony detection with an untrained marker frequency (4 kHz or variable frequency vs. 1 kHz), and generalized negatively to anisochrony detection with an untrained IOI (200 ms vs. 100 ms). Further, pre-training thresholds were correlated among nearly all of the conditions with the same IOI (100-ms IOIs), but not between conditions with different IOIs (100-ms vs. 200-ms IOIs). Thus, it appears that some task-, IOI-, and frequency-specific processes are involved in fast-rhythm processing. These outcomes are most consistent with a holistic rhythm-processing model in which a holistic "image" of the stimulus is compared to a stimulus-specific template.

The Less You Are, the More You Are Helped: Effect of Kinesio Tape on Temporal Coordination.

We investigated whether a relationship exists between the inherent timing skill of subject and the magnitude of effect of KT on timing performance by expanding the examination of the dataset described in our previous work. Healthy subjects, tested with and without KT (NKT), performed sets of repetitive wrist's flexion-extensions (IWFEs) with the dominant limb (DL) and the non-dominant limb (NDL) in a synchronization-continuation task at two inter-onset intervals (IOIs): 550-ms and 800-ms. Standard deviation (SD) of IWFEs was used to measure the unevenness of performance. Different patterns of response to KT were observed based on the participant's inherent precision. In the NDL the effect of KT was found significantly higher in the subgroups of individuals having SDNKT of IWFEs>38 ms (p=0.0024) in the 800-ms IOI or SDNKT of IWFEs>19 ms (p=0.0004) in the 550-ms IOI. In the DL the effect of KT was not influenced by the inherent timing skill. We propose KT to be tested for restoring motor control on subjects experiencing sensorimotor disorders associated with intense repetitive training. Also, our findings suggest that care should be taken when using groups of healthy subjects to test the effect of KT.

Regularity and dimensional salience in temporal grouping.

How do pitch and duration accents combine to influence the perceived grouping of musical sequences? Sequence context influences the relative importance of these accents; for example, the presence of learned structure in pitch exaggerates the effect of pitch accents at the expense of duration accents despite being irrelevant to the task and not attributable to attention (Prince, 2014b). In the current study, two experiments examined whether the presence of temporal structure has the opposite effect. Experiment 1 tested baseline conditions, in which participants (N = 30) heard sequences with various sizes of either pitch or duration accents, which implied either duple or triple groupings (accent every two or three notes, respectively). Sequences either had regular temporal structure (isochronous) or not (irregular, via using random interonset intervals). Regularity enhanced the effect of duration accents but had negligible influence on pitch accents. The accent sizes that gave the most equivalent ratings across dimension and regularity levels were used in Experiment 2 (N = 33), in which sequences contained both pitch and duration accents that suggested either duple, triple, or neutral groupings. Despite controlling for the baseline effect of regularity by selecting equally effective accent sizes, regularity had additional effects on duration accents, but only for duple groupings. Regularity did not influence the effectiveness of pitch accents when combined with duration accents. These findings offer some support for a dimensional salience hypothesis, which proposes that the presence of temporal structure should foster duration accent effectiveness at the expense of pitch accents. (PsycINFO Database Record

Intrinsic Rhythmicity Predicts Synchronization-Continuation Entrainment Performance

Rhythmic entrainment—defined as a stable temporal relationship between external periodic signals and endogenous rhythmic processes—allows individuals to coordinate with environmental rhythms. However, the impact of inter-individual differences on entrainment processes as a function of the tempo of external periodic signals remain poorly understood. To better understand the effects of endogenous differences and varying tempos on rhythmic entrainment, 20 young healthy adults participated in a spontaneous motor tempo (SMT) task and synchronization-continuation tasks at three experimental tempos (50, 70, and 128 bpm; 1200, 857, and 469 ms inter onset interval (IOI)). We hypothesized that SMT task performance and tempo would influence externally paced synchronization-continuation task behavior. Indeed, intrinsic rhythmicity assessed through the SMT task predicted performance in the externally paced task, allowing us to characterize differences in entrainment behavior between participants with low and high endogenous rhythmicity. High rhythmicity individuals, defined by better SMT performance, deviated from externally paced pulses sooner than individuals with low rhythmicity, who were able to maintain externally paced pulses for longer. The magnitude of these behavioral differences depended on the experimental tempo of the synchronization-continuation task. Our results indicate that differences in intrinsic rhythmicity vary between individuals and relate to tempo-dependent entrainment performance.

Female indris determine the rhythmic structure of the song and sustain a higher cost when the chorus size increases.

Among the behavioral traits shared by some nonhuman primate species and humans there is singing. Unfortunately, our understanding of animals’ rhythmic abilities is still in its infancy. Indris are the only lemurs who sing and live in monogamous pairs, usually forming a group with their offspring. All adult members of a group usually participate in choruses that are emitted regularly and play a role in advertising territorial occupancy and intergroup spacing. Males and females emit phrases that have similar frequency ranges but may differ in their temporal structure. We examined whether the individuals’ contribution to the song may change according to chorus size, the total duration of the song or the duration of the individual contribution using the inter-onset intervals within a phrase and between phrases. We found that the rhythmic structure of indri’s songs depends on factors that are different for males and females. We showed that females have significantly higher variation in the rhythm of their contribution to the song and that, changes according to chorus size. Our findings indicate that female indris sustain a higher cost of singing than males when the number of singers increases. These results suggest that cross-species investigations will be crucial to understanding the evolutionary frame in which such sexually dimorphic traits occurred.

Neural responses to perturbations in visual and auditory metronomes during sensorimotor synchronization

Tapping in synchrony to an isochronous rhythm involves several key functions of the sensorimotor system including timing, prediction and error correction. While auditory sensorimotor synchronization (SMS) has been well studied, much less is known about mechanisms involved in visual SMS. By comparing error correction in auditory and visual SMS, it can be determined if the neural mechanisms for detection and correction of synchronization errors are generalized or domain specific. To study this problem, we measured EEG while subjects tapped in synchrony to separate visual and auditory metronomes that both contained small temporal perturbations to induce errors. The metronomes had inter-onset intervals of 600 ms and the perturbations where of 4 kinds: ± 66 ms to induce period corrections, and ± 16 ms to induce phase corrections. We hypothesize that given the less precise nature of visual SMS, error correction to perturbed visual flashing rhythms will be more gradual than with the equivalent auditory perturbations. Additionally, we expect this more gradual error correction will be reflected in the visual evoked potentials. Our findings indicate that the visual system is only capable of more gradual phase corrections to even the larger induced errors. This is opposed to the swifter period correction of the auditory system to large induced errors. EEG data found the peak N1 auditory evoked potential is modulated by the size and direction of an induced error in line with previous research, while the P1 visual evoked potential was only effected by the large late-coming perturbations resulting in reduced peak latency. Looking at the error response EEG data, an Error Related Negativity (ERN) and related Error Positivity (pE) was found only in the auditory + 66 condition, while no ERN or pE were found in any of the visual perturbation conditions. In addition to the ERPs, we performed a dipole source localization and clustering analysis indicating that the anterior cingulate was active in the error detection of the perturbed stimulus for both auditory and visual conditions in addition to being involved in producing the ERN and pE induced by the auditory + 66 perturbation. Taken together, these results confirm that the visual system is less developed for synchronizing and error correction with flashing rhythms by its more gradual error correction. The reduced latency of the P1 to the visual + 66 suggests that the visual system can detect these errors, but that detection does not translate into any meaningful improvement in error correction. This indicates that the visual system is not as tightly coupled to the motor system as the auditory system is for SMS, suggesting the mechanisms of SMS are not completely domain general.

Predictive cues for auditory stream formation in humans and monkeys.

Auditory perception is improved when stimuli are predictable, and this effect is evident in a modulation of the activity of neurons in the auditory cortex as shown previously. Human listeners can better predict the presence of duration deviants embedded in stimulus streams with fixed interonset interval (isochrony) and repeated duration pattern (regularity), and neurons in the auditory cortex of macaque monkeys have stronger sustained responses in the 60-140ms post-stimulus time window under these conditions. Subsequently, the question has arisen whether isochrony or regularity in the sensory input contributed to the enhancement of the neuronal and behavioural responses. Therefore, we varied the two factors isochrony and regularity independently and measured the ability of human subjects to detect deviants embedded in these sequences as well as measuring the responses of neurons the primary auditory cortex of macaque monkeys during presentations of the sequences. The performance of humans in detecting deviants was significantly increased by regularity. Isochrony enhanced detection only in the presence of the regularity cue. In monkeys, regularity increased the sustained component of neuronal tone responses in auditory cortex while isochrony had no consistent effect. Although both regularity and isochrony can be considered as parameters that would make a sequence of sounds more predictable, our results from the human and monkey experiments converge in that regularity has a greater influence on behavioural performance and neuronal responses.

Effects of metric hierarchy and rhyme predictability on word duration in The Cat in the Hat

Word durations convey many types of linguistic information, including intrinsic lexical features like length and frequency and contextual features like syntactic and semantic structure. The current study was designed to investigate whether hierarchical metric structure and rhyme predictability account for durational variation over and above other features in productions of a rhyming, metrically-regular children's book: The Cat in the Hat (Dr. Seuss, 1957). One-syllable word durations and inter-onset intervals were modeled as functions of segment number, lexical frequency, word class, syntactic structure, repetition, and font emphasis. Consistent with prior work, factors predicting longer word durations and inter-onset intervals included more phonemes, lower frequency, first mention, alignment with a syntactic boundary, and capitalization. A model parameter corresponding to metric grid height improved model fit of word durations and inter-onset intervals. Specifically, speakers realized five levels of metric hierarchy with inter-onset intervals such that interval duration increased linearly with increased height in the metric hierarchy. Conversely, speakers realized only three levels of metric hierarchy with word duration, demonstrating that they shortened the highly predictable rhyme resolutions. These results further understanding of the factors that affect spoken word duration, and demonstrate the myriad cues that children receive about linguistic structure from nursery rhymes.

Empirical study on the characteristics of 9th sub-beat of gutgeori jangdan

본 연구는 우리 민속악 4박 계열 장단들 중 서울굿 음악의 타령을 부를 때 반주로 사용하는 굿거리 장단의 연주과정에서 소박 단위의 박들에 나타나는 타이밍 데이터 상의 특징적 현상을 분석하고자 하였다. 서울굿 실제 연주를 녹음한 연주에서 장군거리에 나오는 4개의 타령을 연구대상으로 하였고, 데이터의 처리방식은 오디오 파일을 중심으로 온 셋데이터를 추출하여 첫 박을 기준으로 하는 소박들의 상대적 위상값을 계산하여 그 값들의 변화를 추적하였다. 그 결과 9소박의 데이터에서 통계적으로 유의함이 발견되었고 ♩♪리듬에서 사분음표에 해당하는 상대적 위상값이 9소박을 향하여 증가했다가 감소하는 아치형의 구조가 만들어짐을 확인하였다. 맺는형과 다는형을 구분하여 비교분석한 결과 맺는형 9소박의 표준편차가 다는형 9소박의 표준편차에 비해 적음을 발견하였다. 이 결과는 이 연주자가 굿거리 12소박을 6+6으로 구분하기 보다는 12소박 전체를 하나의 호흡으로 인식하고 그 중 9소박을 이 호흡의 정점으로 두고 있다는 것을 추정하게 한다. 즉 전통음악연주자들이 장단을 연주할 때 박을 세면서 연주한다기 보다는 하나의 호흡으로 연주한다는 의미가 경험적으로 증명된 결과로 볼 수 있다.This study attempts to analyse timing difference between sub-beats during the performance of gutgoeri jangdan, one of the representative 4-beat jangdans in Korean folk music. The audio recordings of four songs from Seoul gut are selected as the research object and we extract the inter-onset interval of audio data and calculate the relative phase relationship to the first beat of every jangdan as a reference point. As a result, we found the tatistically significant result on sub-beat 9 and the fact that RP values of the quarter notes in the rhythm ‘♩♪’ are increasing towards on sub-beat 9 and receding. The result shows that the performer is understanding the 12 sub-beats of one jangdan as one phrase or one‘breath’(호흡) which creates arch form with a climax on sub-beat 9, rather than as a composition of 6+6(sub-beats).