Preferred Tempo Research Articles

Beyond Simple Tapping: Is Timed Body Movement Influenced When Balance Is Threatened?

The tapping paradigm offers valuable insights into movement timing; however, it simplifies mechanics by minimizing force, restricting motion, and relying on a clear contact endpoint. Thus, it may not fully capture the complexity of larger-scale multi-segmental (or single-segment) timed body movements. The aim of this study was to extend beyond the tapping paradigm by examining the timing of two large-scale movements commonly performed in physical fitness or rehabilitation modalities, with varying inherent balance threats: two-legged squatting (low balance threat) and standing hip abduction (higher balance threat) paced by a metronome set at the participants’ preferred tempo (N = 39, all physically active). In synchronization with the metronome audio signal, the trunk and shank angular velocities were also recorded to extract the entrainment, synchronization, and pace stability metrics. Paired t-tests indicated similar entrainment in both movements (p > 0.05 for IRI match) but significant differences in timing metrics’ manifestations (p ≤ 0.05, standing hip abduction: 50% greater IRI error, 30% lower synchronization error, 2.6% units lower pace stability). The similar entrainment but different synchronization error and pace stability highlight a complex timing interplay between balance threat/challenges and movement complexity concerning the two large-scale movements employed in physical fitness and rehabilitation modalities.

The exercise intensity–music-tempo preference relationship: A decennial revisit

Tempo is a key determinant of the motivational effects of music during exercise and has been the focus of numerous empirical studies (e.g., Karageorghis & Jones, 2014). The present study sought to address the limitations of previous related work and revisit the relationship between exercise intensity and music-tempo preference using unfamiliar, non-lyrical music (to isolate the tempo manipulation). A within-within experimental design was employed to test hypotheses pertaining to the non-linear relationship and associated psychological outcomes (e.g., core affect and state attention). Twenty-four participants (Mage = 20.6 years, SD = 0.92 years) exercised at five intensities (10% of peak V̇O2 below ventilatory threshold [VT]; 5% of peak V̇O2 below VT, at VT, midway between VT and the respiratory compensation point [RCP], and at RCP) during which they were administered music tracks at four tempi (90 bpm, 110 bpm, 130 bpm and 150 bpm) and a no-music control. A music liking item, measures of core affect (valence and arousal), attentional focus and perceived exertion were recorded during the exercise bouts. Results indicated that unlike previous findings with familiar, lyrical music, there was no discernible relationship between exercise intensity and preference for music tempo. The most positive psychological outcomes were associated with fast-tempo music. In accord with previous findings, slow-tempo music attracted low liking scores and the least desirable psychological outcomes at every exercise intensity. The present findings have implications for the use of unfamiliar, non-lyrical music during exercise. Specifically, that such music should be ∼10 bpm faster than familiar, lyrical music.

Interdependence of movement amplitude and tempo during self-paced finger tapping: evaluation of a preferred velocity hypothesis.

This study examined the relation between movement amplitude and tempo during self-paced rhythmic finger tapping to test a preferred velocity account of the preferred tempo construct. Preferred tempo refers to the concept that individuals have preferences for the pace of actions or events in their environment (e.g., the desired pace of walking or tempo of music). The preferred velocity hypothesis proposes that assessments of preferred tempo do not represent a pure time preference independent of spatial movement characteristics, but rather reflects a preference for an average movement velocity, predicting that preferred tempo will depend on movement amplitude. We tested this by having participants first perform a novel spontaneous motor amplitude (SMA) task in which they repetitively tapped their finger at their preferred amplitude without instructions about tapping tempo. Next, participants completed the spontaneous motor tempo (SMT) task in which they tapped their finger at their preferred tempo without instructions about tapping amplitude. Finally, participants completed a target amplitude version of the SMT task where they tapped at their preferred tempo at three target amplitudes (low, medium, and high). Participants (1) produced similar amplitudes and tempi regardless of instructions to produce either their preferred amplitude or preferred tempo, maintaining the same average movement velocity across SMA and SMT tasks and (2) altered their preferred tempo for different target amplitudes in the direction predicted by their estimated preferred velocity from the SMA and SMT tasks. Overall, results show the interdependence of movement amplitude and tempo in tapping assessments of preferred tempo.

Two Repetitions May Be Enough! Reliability of Movement Timing in Physical Fitness Exercises Performed by Young, Trained Adults Using Inertial Sensors

This study aimed to determine the minimum number of repetitions for a high reliability of movement timing in fundamental physical fitness exercises using inertial sensors. Fifteen young men and fifteen women performed eight exercises (two-leg hop, forward lunge, squat, sit-up, shoulder abduction, hip abduction, back extension, and push-up) (preferred tempo, 3 trials, 20 repetitions per trial). The movement timing (cycle of movement in seconds and its phases in seconds and %tcycle) was tested for intra- and inter-trial reliability (SPSS 28.0, p ≤ 0.05). Just two repetitions were adequate for excellent intra- and inter-trial relative reliability (ICCs ≥ 0.75, isolated exceptions only for durations expressed as %tcycle, in only three out of the eight exercises: hip abduction, back extension, and push-up), as well as for high absolute intra- and inter-trial reliability (average SEM% at 5.9%, respectively, and 6.8% and average MDC95% at 13.7% and 15.9%, respectively, which was consistently higher than the upper boundary limit of SEM%, and a rather low CV% ranging from 1.5% to 4.9% and averaging at 3.1%). A total of four repetitions, excluding the initial and the final one, appears adequate for high overall reliability of movement timing in the eight physical fitness exercises examined.

Relaxing and stimulating ambient odors influence preferences for musical tempo

It has recently been shown that relaxing and stimulating odors distort time perception by slowing down or speeding up the pacemaker of the internal clock. Since individuals tend to prefer musical tempo at the rate of the pacemaker, we examined whether relaxing and stimulating ambient odors could bias tempo preference in a study in which the musical stimuli were unfamiliar pleasant musical excerpts. Participants listened to pairs of excerpts played at slightly different tempi and had to indicate which one they preferred. We hypothesized that participants exposed to a relaxing odor (strawberry) would prefer the slower excerpts while participants exposed to a stimulating odor (lemon) would prefer the faster excerpts. As expected, the findings showed that participants in the control (no odor) condition preferred the slower of the fast-tempo pairs of excerpts and the faster of the slow-tempo pairs, indicating a preference bias for moderate tempo. Preferences in both odor conditions differed significantly from those in the control condition such that no such preference bias was observed. There was an interaction between tempo and odor such that participants showed no preference for the slower of the fast-tempo pairs of excerpts in the presence of a lemon odor, and no preference for the faster of the slow-tempo pairs in the presence of a strawberry odor. To our knowledge, this is the first time it has been shown that odors can alter the rate of the pacemaker without participants being conscious of the presence of an olfactory stimulus in the environment.

Effects of Model Recordings on Undergraduate Conductors’ Tempo Selections

The purpose of this study was to determine the effects of model recordings on undergraduate conductors’ tempo decisions for selected wind band excerpts. Participants ( N = 42) studied three music score excerpts for 5 minutes each either (a) with an increased-tempo recording, (b) with a decreased-tempo recording, or (c) with a metronome set to the faster, printed tempo in the score, followed by a tapping task to demonstrate their preferred tempo. Participants returned 48 hours after their score study session for retention testing in the form of a second tapping task. Results indicated that for two of the three pieces, participants tapped faster in response to the metronome compared to both the decreased- and increased-tempo model recordings. Participants’ tempo choices at the first testing session were most often not significantly different than the tempos they heard during study. However, we found that participants’ preferred tempos did not vary as a function of study conditions during the retention testing session that occurred 48 hours later, where tempos trended toward moderation across all three musical selections. We speculate that pedagogical recommendations to avoid using model recordings may have limited empirical support, at least among novice conductors and at least in terms of possible long-term effects from short-term use.

Caressed by music: Related preferences for velocity of touch and tempo of music?

Given that both hearing and touch are 'mechanical senses' that respond to physical pressure or mechanical energy and that individuals appear to have a characteristic internal or spontaneous tempo, individual preferences in musical and touch rhythms might be related. We explored this in two experiments probing individual preferences for tempo in the tactile and auditory modalities. Study 1 collected ratings of received stroking on the forearm and measured the velocity the participants used for stroking a fur. Music tempo preferences were assessed as mean beats per minute of individually selected music pieces and via the adjustment of experimenter-selected music to a preferred tempo. Heart rate was recorded to measure levels of physiological arousal. We found that the preferred tempo of favorite (self-selected) music correlated positively with the velocity with which each individual liked to be touched. In Study 2, participants rated videos of repeated touch on someone else's arm and videos of a drummer playing with brushes on a snare drum, both at a variety of tempos. We found that participants with similar rating patterns for the different stroking speeds did not show similar rating patterns for the different music beats. The results suggest that there may be a correspondence between preferences for favorite music and felt touch, but this is either weak or it cannot be evoked effectively with vicarious touch and/or mere drum beats. Thus, if preferences for touch and music are related, this is likely to be dependent on the specific type of stimulation.

Using Motor Tempi to Understand Rhythm and Grammatical Skills in Developmental Language Disorder and Typical Language Development.

Children with developmental language disorder (DLD) show relative weaknesses on rhythm tasks beyond their characteristic linguistic impairments. The current study compares preferred tempo and the width of an entrainment region for 5- to 7-year-old typically developing (TD) children and children with DLD and considers the associations with rhythm aptitude and expressive grammar skills in the two populations. Preferred tempo was measured with a spontaneous motor tempo task (tapping tempo at a comfortable speed), and the width (range) of an entrainment region was measured by the difference between the upper (slow) and lower (fast) limits of tapping a rhythm normalized by an individual's spontaneous motor tempo. Data from N = 16 children with DLD and N = 114 TD children showed that whereas entrainment-region width did not differ across the two groups, slowest motor tempo, the determinant of the upper (slow) limit of the entrainment region, was at a faster tempo in children with DLD vs. TD. In other words, the DLD group could not pace their slow tapping as slowly as the TD group. Entrainment-region width was positively associated with rhythm aptitude and receptive grammar even after taking into account potential confounding factors, whereas expressive grammar did not show an association with any of the tapping measures. Preferred tempo was not associated with any study variables after including covariates in the analyses. These results motivate future neuroscientific studies of low-frequency neural oscillatory mechanisms as the potential neural correlates of entrainment-region width and their associations with musical rhythm and spoken language processing in children with typical and atypical language development.

Spontaneous motor tempo contributes to preferred music tempo regardless of music familiarity.

Music, and listening to music, has occurred throughout human history. However, it remains unclear why people prefer some types of music over others. To understand why we listen to a certain music, previous studies have focused on preferred tempo. These studies have reported that music components (external), as well as participants' spontaneous motor tempo (SMT; internal), determine tempo preference. In addition, individual familiarity with a piece of music has been suggested to affect the impact of its components on tempo preference. However, the relationships among participants' SMT, music components, and music familiarity as well as the influence of these variables on tempo preference have not been investigated. Moreover, the music components that contribute to tempo preference and their dependence on familiarity remain unclear. Here, we investigate how SMT, music components, and music familiarity simultaneously regulate tempo preference as well as which music components interact with familiarity to contribute to tempo preference. A total of 23 participants adjusted the tempo of music pieces according to their preferences and rated the familiarity of the music. In addition, they engaged in finger tapping at their preferred tempo. Music components, such as the original tempo and the number of notes, were also analyzed. Analysis of the collected data with a linear mixed model showed that the preferred tapping tempo of participants contributed to the preferred music tempo, regardless of music familiarity. In contrast, the contributions of music components differed depending on familiarity. These results suggested that tempo preference could be affected by both movement and memory.

Lower Limb Ground Reaction Force and Center of Pressure Asymmetry During Bodyweight Squats.

BackgroundPerformance asymmetries between the lower limbs have been reported across a variety of variables and for numerous motor tasks including double leg squats. Additionally, the degree of symmetry is often used as a recovery metric during rehabilitation programs.Hypothesis/PurposeThe purpose of this investigation was to examine leg asymmetry during a bodyweight double leg squat task and assess the effects of squat speed in a physically active population.Study DesignCross-over Study Design.MethodsEighteen healthy individuals completed two sets of 20 squats at two tempos (preferred tempo and 60 bpm) while ground reaction force and center of pressure data were recorded using dual force plates. Peak vertical ground reaction force, force impulse, and center of pressure (COP) standard deviation in the anterior-posterior (AP) and mediolateral (ML) direction were calculated and analyzed to identify any differences between legs, tempo, and as a function of repetitions. Significance was set at ρ ≤ .05.ResultsThe subjects exhibited greater ground reaction forces during the self-paced tempo compared to the metronome-paced tempo (F1,79 = 14.48, p < .001) with the preferred leg generating larger values than the non-preferred leg during the self-paced condition. There was also a significant tempo x leg interaction for force impulse (F1,79 = 5.927, p = 0.015). A greater amount of COP variability was found in the preferred leg compared to the non-preferred leg in both the AP (F1,79 = 30.147, p < 0.001) and ML (F1,79 = 41.204, p < 0.001) directions.ConclusionsThese findings highlight the importance of considering multiple levels of analysis when assessing lower limb symmetry as separate variables may provide differential evidence for asymmetry. Practically, these results emphasize the need for coaches and practitioners to consider different degrees of lower limb asymmetries that may impact the development and design of strength and rehabilitation programs.Level of Evidence3

How to orchestrate a soccer team: Generalized synchronization promoted by rhythmic acoustic stimuli.

Interpersonal coordination requires precise actions concerted in space and time in a self-organized manner. We found, using soccer teams as a testing ground, that a common timeframe provided by adequate acoustic stimuli improves the interplay between teammates. We provide quantitative evidence that the connectivity between teammates and the scoring rate of male soccer teams improve significantly when playing under the influence of an appropriate acoustic environment. Unexpectedly, female teams do not show any improvement under the same experimental conditions. We show by follow-up experiments that the acoustic rhythm modulates the attention level of the participants with a pronounced tempo preference and a marked gender difference in the preferred tempo. These results lead to a consistent explanation in terms of the dynamical system theory, nonlinear resonances, and dynamic attention theory, which may illuminate generic mechanisms of the brain dynamics and may have an impact on the design of novel training strategies in team sports.

Effects of Experience on Tempo Preference for Selected Wind Band Masterworks

We conducted two studies to complement extant tempo preference work. In Study 1, we explored preferred tempos for excerpts from selected wind band masterworks of band directors and undergraduate instrumental music majors. Participants used a sort-and-rank procedure to indicate tempo preferences of six excerpts. Preferences for four of the pieces were substantially the same: There was no difference between original tempos and the 6% increase in tempo. These results comport with research showing increased preference for faster tempos. For the other two excerpts, listeners preferred original and decreased tempos. These results parallel earlier research showing that pieces heard as already fast were preferred with slightly slower tempi. However, in one example, music majors preferred the faster tempi, demonstrating that when examples are unfamiliar, faster tempi are preferred. In Study 2, collegiate and secondary school band directors tapped preferred tempi of four works used in Study 1. Results agree with extant literature: Regression to moderate tempi was demonstrated by participants. Conductors tapped slow examples faster and fast examples slower relative to expert baselines. Tapping performance preferences were consistent with the listening preference task. Awareness of these inclinations may inform musical decisions made by students and band directors when rehearsing and conducting.

Testing the stability of 'Default' motor and auditory-perceptual rhythms-A replication failure dataset.

Several studies have found that the motor rhythms that individuals produce spontaneously, for example during finger tapping, clapping or walking, are also rated perceptually as ‘very comfortable’ to listen to. This motivated proposal of the Preferred Period Hypothesis, suggesting that individuals have a characteristic preferred rhythm, that generalizes across perception and production.However, some of the experimental procedures used previously raise two methodological concerns: First, in many of these studies, the rhythms used for assessment of participants’ Perceptual Preferred Tempo (PPT) were tailored specifically around each participant's personal Spontaneous Motor Tempo (SMT). This may have biased results toward the central rhythm used, artificially increasing the similarity between spontaneous motor and auditory perceptual preferences. Second, a key prediction of the Preferred Period Hypothesis is that the same default rhythms are repeatedly found within-subject. However, measures of consistency are seldom reported, and increased within-subject variability has sometimes been used to exclude participants.The current study was an attempt to replicate reports of a correspondence between motor and perceptual rhythms, and closely followed previous experimental protocols by conducting three tasks: SMT was evaluated by instructing participants to tap ‘at their most comfortable rate’; PPT was assessed by asking participants to rate a 10 different rhythms according to how ‘comfortable’ they were; and motor-replication of rhythms was assessed using a Synchronization-Continuation task, over a wide range of rhythms.However, in contrast to previous studies, for all participants we use the same 10 perceptual rhythms in both the PPT and Synchronization-Continuation task, irrespective of their SMT. Moreover, we assessed and report measures of within- and between-trial consistency, in order to evaluate whether participants gave similar rating and produced similar motor rhythms across multiple sessions throughout the experiment.The data presented here fail to show any correlation between motor and perceptual preferences, nor do they support improved synchronization-continuation performance near an individual's so-called SMT or PPT. Rather, they demonstrate substantial within-subject variability in the spontaneous motor rhythms produced across repeated sessions, as well as their subjective rating of perceived rhythms. This report accompanies our article “Spontaneous and Stimulus-Driven Rhythmic Behaviors in ADHD Adults and Controls”[1], and provided motivation and insight for modifying the procedures used for SMT and PPT evaluation, and their interpretation.

Infant Movement Response to Auditory Rhythm.

Rhythmic entrainment occurs when an auditory rhythm drives an internal movement oscillator, thus providing a continuous time reference that improves temporal and spatial movement parameters. Entrainment processes and outcomes are well known for adults, but research is lacking for infants who might benefit from diagnosis and treatment of irregular rhythms within biological, sensorimotor, cognitive, and social domains. The present study used a combination of inertial measurement units and custom-made software to determine the amount, tempo, and regularity of movement in 28 infants aged 6-10 months while they were exposed to silence, an irregular rhythmic cue, or a regular rhythmic cue with tempo changes. We also assessed changes in the infants' movement parameters following a one-week rhythm training protocol. While results revealed no significant effect of auditory condition on amount or tempo of movement, infant movement was significantly more regular when infants were exposed to 120 bpm (beats per minute) than to an irregular rhythmic cue or a 10% faster rhythmic cue (132 bpm). Infants showed no notable changes in movement amount, tempo, or regularity following one week of training involving auditory and physical rhythm. Overall, infants seem to engage in spontaneous movements with or without auditory rhythm but may not show tempo sensitivity through their movements. Increased movement regularity suggests that 120 bpm may be a preferred tempo for infants, at which they are more likely to demonstrate well-timed movements that may reflect interval entrainment. Infants' auditory-motor systems appear not to respond to a 1-week rhythm training protocol.

A Tablet-Based Assessment of Rhythmic Ability.

The exponential rise in use of mobile consumer electronics has presented a great potential for research to be conducted remotely, with participants numbering several orders of magnitude greater than a typical research paradigm. Here, we attempt to demonstrate the validity and reliability of using a consumer game-engine to create software presented on a mobile tablet to assess sensorimotor synchronization, a proxy of rhythmic ability. Our goal was to ascertain whether previously observed research results can be replicated, rather than assess whether a mobile tablet achieves comparable performance to a desktop computer. To achieve this, younger (aged 18–35 years) and older (aged 60–80 years) adult musicians and non-musicians were recruited to play a custom-designed sensorimotor synchronization assessment on a mobile tablet in a controlled laboratory environment. To assess reliability, participants performed the assessment twice, separated by a week, and an intra-class correlation coefficient (ICC) was calculated. Results supported the validity of this approach to assessing rhythmic abilities by replicating previously observed results. Specifically, musicians performed better than non-musicians, and younger adults performed better than older adults. Participants also performed best when the tempo was in the range of previously-identified preferred tempos, when the stimuli included both audio and visual information, and when synchronizing on-beat compared to off-beat or continuation (self-paced) synchronization. Additionally, high ICC values (>0.75) suggested excellent test–retest reliability. Together, these results support the notion that consumer electronics running software built with a game engine may serve as a valuable resource for remote, mobile-based data collection of rhythmic abilities.

Accent-induced stabilization of spontaneous auditory-motor synchronization.

Humans spontaneously synchronize their movements with external auditory rhythms such as a metronome or music. Although such synchronization preferentially occurs toward a simple 1:1 movement-sound frequency ratio, the parameters facilitating spontaneous synchronization to more complex frequency ratios remain largely unclear. The present study investigates the dynamics of spontaneous auditory-motor synchronization at a range of frequency ratios between movement and sound, and examines the benefit of simple accentuation pattern on synchronization emergence and stability. Participants performed index finger oscillations at their preferred tempo while listening to a metronome presented at either their preferred tempo, or twice or three times faster (frequency ratios of 1:1, 1:2 or 1:3) with different patterns of accentuation (unaccented, binary or ternary accented), and no instruction to synchronize. Participants' movements were spontaneously entrained to the auditory stimuli in the three different frequency ratio conditions. Moreover, the emergence and stability of the modes of coordination were influenced by the interaction between frequency ratio and pattern of accentuation. Coherent patterns, such as a 1:3 frequency ratio supported by a ternary accentuation, facilitated the emergence and stability of the corresponding mode of coordination. Furthermore, ternary accentuation induced a greater gain in stability for the corresponding mode of coordination than was observed with binary accentuation. Together, these findings demonstrate the importance of matching accentuation pattern and movement tempo for enhanced synchronization, opening new perspectives for stabilizing complex rhythmic motor behaviors, such as running.

Preferred frequency ratios for spontaneous auditory-motor synchronization: Dynamical stability and hysteresis

Humans spontaneously synchronize their movements with external auditory rhythms such as a metronome or music. Although such synchronization preferentially occurs toward simple 1:1 movement-stimulus frequency ratio, the extent to which spontaneous synchronization can also occur toward more complex frequency ratios remains largely unclear. The present study investigates the occurrence and dynamical stability of spontaneous auditory-motor synchronization at multiple frequency ratios. Participants performed index finger oscillations at their preferred tempo while listening to auditory metronomes with frequency progressively increasing or decreasing between 1 Hz and 6 Hz. The results demonstrated that participants' movements were not only entrained toward the 1:1 frequency ratio but also toward the 1:2 ratio. The occurrence and stability of these ratios differed as a function of the direction of frequency change. Participants synchronized to the 1:2 ratio and transitioned to a 1:1 ratio in the descending condition. In the ascending condition only the 1:1 ratio was sustained, for a longer extent than in the descending condition. These results show that the initial coordination pattern influenced pattern transition, demonstrating the occurrence of a hysteresis effect that is typical of complex system dynamics. These findings provide new insight into the mechanisms underlying the occurrence and stability of spontaneous movement synchronization to auditory rhythms.

Does dance training influence beat sensorimotor synchronization? Differences in finger-tapping sensorimotor synchronization between competitive ballroom dancers and nondancers.

Sensorimotor synchronization is the coordination of rhythmic movement with an external beat. Dancers often synchronize each beat of their motion with an external rhythm. Compared with social dancing, competitive ballroom dancing requires a higher level of sensorimotor ability. Although previous studies have found that dance experience may facilitate sensorimotor synchronization, they did not examine this in competitive ballroom dancers. Thus, the present study compared sensorimotor synchronization in 41 nondancers and 41 skilled, competitive ballroom dancers as they performed a simple beat synchronization finger-tapping task. All participants finger-tapped freely at their preferred tempo before the formal experiments. Participants were then required to synchronize their finger-tapping with auditory, visual, or combined audiovisual signals in separate experiments and at varying tempos. To assess sensorimotor plasticity, the participants then repeated the free-tapping task after completing all three finger-tapping experiments. Compared with nondancers, dancers showed more accurate and stable beat synchronization. Dancers tapped before onset of all three types of sensorimotor stimulation, indicating a significant negative mean asynchrony and had a tendency to anticipate (predict) the stimuli. Dancers tended to auditory stimulation for beat sensorimotor synchronization, whereas nondancers tended to visual stimuli. Dancers had a faster tempo preference in the initial free-tapping task; however, the preferred tapping tempo increased in all participants in the second free-tapping task, suggesting that beat induction is affected by practice. Together these findings suggest that dance experience enhances sensorimotor synchronization and sensorimotor plasticity, with ballroom dancers tending to auditory stimulation for beat induction.

Single (1:1) vs. double (1:2) metronomes for the spontaneous entrainment and stabilisation of human rhythmic movements.

Rhythmic movements produced by humans become spontaneously entrained to auditory rhythms in the environment. Evidence suggests that synchronisation to external auditory rhythms can contribute to the stabilisation of movements in time and space, opening new perspectives for motor training and rehabilitation. Here we compared the effects of single (1:1) and double (1:2) metronomes (i.e., one or two stimulations per preferred movement cycle) on spontaneous movement entrainment and stabilisation. We examined the spontaneous entrainment of self-paced hand-held pendulum swinging when single or double metronomes were presented either at the participant's preferred tempo or slightly slower or faster (± 10%). The results showed that participants' movements spontaneously entrained to auditory rhythms, and that the strength of this entrainment was the same for single and double metronomes. However, double metronomes decreased movement tempo stability, whereas single metronomes increased movement tempo stability compared to a control condition without a stimulus. These effects preferentially occurred for metronomes presented at participants' preferred movement tempi and especially for participants whose movements were intrinsically more variable. Participants' movement amplitude stability was also modulated in such a way that the stability of participants who were intrinsically less stable increased, whereas the stability of intrinsically more stable participants decreased with auditory rhythms, an effect that was stronger with double than single metronomes. Moreover, movement stabilisation in time and space were positively correlated, suggesting that tempo and amplitude stabilisation depend on similar processes and may be complementary. These findings provide new insight into the processes underlying auditory-motor entrainment and how auditory rhythms can be used to improve movement stability in time and space.

Preferred Tempo and Low-Audio-Frequency Bias Emerge From Simulated Sub-cortical Processing of Sounds With a Musical Beat.

Prior research has shown that musical beats are salient at the level of the cortex in humans. Yet below the cortex there is considerable sub-cortical processing that could influence beat perception. Some biases, such as a tempo preference and an audio frequency bias for beat timing, could result from sub-cortical processing. Here, we used models of the auditory-nerve and midbrain-level amplitude modulation filtering to simulate sub-cortical neural activity to various beat-inducing stimuli, and we used the simulated activity to determine the tempo or beat frequency of the music. First, irrespective of the stimulus being presented, the preferred tempo was around 100 beats per minute, which is within the range of tempi where tempo discrimination and tapping accuracy are optimal. Second, sub-cortical processing predicted a stronger influence of lower audio frequencies on beat perception. However, the tempo identification algorithm that was optimized for simple stimuli often failed for recordings of music. For music, the most highly synchronized model activity occurred at a multiple of the beat frequency. Using bottom-up processes alone is insufficient to produce beat-locked activity. Instead, a learned and possibly top-down mechanism that scales the synchronization frequency to derive the beat frequency greatly improves the performance of tempo identification.