Range Of Tempi Research Articles

SNARC-like effect for tempo is consistent for fast and full tempo ranges but still controversial for slow tempo range.

Recent evidence suggested the existence of a spatial associations for music tempo with faster left-hand responses to relatively slow tempos and faster right-hand responses to relatively fast tempos. We refer to a study that systematically explored these spatial associations across different tempo ranges, revealed a clear effect only in the fast tempo range (DOI 10.3758/s13414-019-01945-8). The present study further investigated whether a spatial association exists across different tempo ranges (i.e., "full", "slow" or "fast" tempo range). In particular, the present study was conducted aiming (1) to test the spatial associations for tempo in the full tempo range (Experiment 1) and (2) to further investigate the occurrence of this spatial associations in the slow and fast tempo ranges (Experiment 2). Experiment 1 revealed a spatial association for tempo occurs in the full tempo range (40-200 bpm). Experiment 2 confirmed this association in the fast tempo range (133-201 bpm) but showed contradictory results in the slow tempo range (40-104 bpm). This suggests that a spatial association is plausible in the slow tempo range, although further research is needed to clarify this phenomenon.

Effect of tempo on the age-related changes in temporal expectation driven by rhythms.

Temporal expectation refers to the capacity to allocate resources at a particular point in time, enabling us to enhance our behavior performance. Empirical evidence indicates that, among younger adults, temporal expectation can be driven by rhythm (i.e., regular sequences of stimuli). However, whether there are age-related changes in rhythm-based temporal expectation has not been clearly established. Furthermore, whether tempo can influence the relationship between rhythm-based temporal expectation and aging remains unexplored. To address these questions, both younger and older participants took part in a rhythm-based temporal expectation task, engaging three distinct tempos: 600 ms (fast), 1800 ms (moderate), or 3000 ms (slow). The results demonstrated that temporal expectation effects (i.e., participants exhibited significantly faster responses during the regular trials compared to the irregular trials) were observed in both the younger and older participants under the moderate tempo condition. However, in the fast and slow tempo conditions, the temporal expectation effects were solely observed in the younger participants. These findings revealed that rhythm-based temporal expectations can be preserved during aging but within a specific tempo range. When the tempo falls within the range of either being too fast or too slow, it can manifest age-related declines in temporal expectations driven by rhythms.

‘MUSIC TO MOVE’ – EFFECTS OF LISTENING TO PREFERENTIAL MUSIC ON AEROBIC ENDURANCE PERFORMANCE AND RATE PERCEIVED OF EXERTION RESPONSES

Music has been shown to reduce the rating of perceived exertion (RPE), increase motivation and enhance exercise performance. However, the effects of exercise performance and RPE with recommended tempo songs are less conclusive. The purpose of this study was to examine the effects of listening to preferred music on aerobic endurance performance and rate perceived of exertion responses. Thirty physically active males (mean ± SD: 18.27 ± 0.45 years, body mass 21.45 ± 1.40 kg·m-2) were recruited for this study. In the experimental study design, participants completed two trials separated by a minimum of 72 hours. In music condition, participants listened to their own preferred music (selection song tempo range was between 121 - 131 bpm). Participants were required to complete a 2.4 km maximal effort run with RPE measured throughout the test. Time to complete 2.4 km aerobic endurance performance and RPE score were significantly lower (PRE: in music condition (11.30 min ± 1.67; 4.83 ± 1.15) compared with in no music condition (11.58 min ± 1.59; 5.43 ± 0.73). In conclusion, the findings of this study indicated that listening to music preference has a significant effect on running performance during 2.4 km aerobic endurance performance. The results from this study could hold important implications for the application of music and enduring aerobic endurance exercise.

Feeling the Beat: Temporal Predictability is Associated with Ongoing Changes in Music-Induced Pleasantness.

Music is a complex phenomenon that elicits a range of emotional responses, influenced by numerous variables, such as rhythm, melody and harmony. One interesting aspect of music is listeners' ability to predict its continuation as it unfolds - an inherent attribute hypothesized to contribute to our emotional response to music. In this study, we investigated this link by examining the relationship between temporal predictability - the ability to predict the timing of the next event - and the ongoing changes in music-induced pleasantness. Temporal predictability was operationalized as the degree to which taps of 20 musically trained participants, who tapped to the beat along three naturalistic and highly contrastive musical pieces, were aligned. We then examined the degree to which this measure could explain the ongoing emotional experience, as reflected in continuous measures of arousal and valence, in a separate group of 40 participants that listened to these pieces. Our findings reveal a positive correlation between fluctuations in reported valence and temporal predictability, even when controlling for a set of other musical features, in four out of five musical sections. The only exception being a lyrical slow section. These findings were further supported by a large online database of annotated musical emotions (n = 1780 songs), where a consistent and robust correlation between valence ratings and an automatically extracted feature of pulse clarity was demonstrated. Overall, our findings shed light on the significance of temporal predictability as a contributing factor to the hedonic experience of music, especially within the tempo range of salient beat perception.

Clinical and Administrative Insights From Delivering Massed Trauma-Focused Therapy to Service Members and Veterans

Despite strong evidence of their effectiveness in reducing symptoms of posttraumatic stress disorder (PTSD), prolonged exposure therapy (PE) and cognitive processing therapy (CPT) remain challenging for some service members and veterans to access and complete. Delivering PE and CPT in time-condensed or “massed” formats may reduce barriers to receiving care. PE and CPT have now been implemented across a range of tempos (e.g., multiple sessions per day across 1 week, one session per day for 3 weeks) and to multiple target populations, in a variety of contexts from individual therapy alone to full intensive outpatient programs. A massed format of treatment delivery has advantages for both patients and providers, including quicker time to recovery, less opportunity for avoidance, and improved treatment completion rates. The time-limited nature of massed treatment also creates accompanying challenges, such as less time to practice homework and greater impact when factors delay or disrupt progress. This paper discusses lessons learned from providers across diverse settings who are experienced in both delivering massed PE and CPT and managing such programs, primarily with military populations.

Tiny dancers: Effects of musical familiarity and tempo on children's free dancing.

Around the world, musical engagement frequently involves movement. Most adults easily clap or sway to a wide range of tempos, even without formal musical training. The link between movement and music emerges early-young infants move more rhythmically to music than speech, but do not reliably align their movements to the beat. Laboratory work encouraging specific motor patterns (e.g., drumming, tapping) demonstrates that toddlers and young children's movements are affected by music in a rudimentary way, such that they move faster to faster rhythms (tempo flexibility). In the present study, we developed and implemented a novel home recording method to investigate how musical familiarity and tempo affect children's naturalistic free-dance movements. Caregivers made home recordings of their children's responses to an experimenter-created playlist (N = 83, age range = 1.25 to 3.91 years, Mage = 2.39 years, SD = .74 years; 41 girls, 42 boys; 75% of household incomes > $90 000 CAD). Children listened to 1-min excerpts of their favorite music and unfamiliar, genre-matched music, each played at 90, 120, and 150 bpm (pitch constant; order randomized). Children moved faster to faster music and demonstrated tempo flexibility for both favorite and unfamiliar music. Favorite music encouraged more smiling across tempo conditions than unfamiliar music, as well as more dancing in the slowest tempo condition. Results demonstrate that young children's self-selected movements are affected by musical tempo and familiarity. We also demonstrate the usefulness of a naturalistic home recording method for assessing early auditory-motor integration. (PsycInfo Database Record (c) 2022 APA, all rights reserved).

Accuracy of Tempo Judgments in Disk Jockeys Compared to Musicians and Untrained Individuals.

Professional disk jockeys (DJs) are an under-studied population whose performance involves creating new musical experiences by combining existing musical materials with a high level of temporal precision. In contemporary electronic dance music, these materials have a stable tempo and are composed with the expectation for further transformation during performance by a DJ for the audience of dancers. Thus, a fundamental aspect of DJ performance is synchronizing the tempo and phase of multiple pieces of music, so that over seconds or even minutes, they may be layered and transitioned without disrupting the rhythmic pulse. This has been accomplished traditionally by manipulating the speed of individual music pieces “by ear,” without additional technological synchronization aids. However, the cumulative effect of this repeated practice on auditory tempo perception has not yet been evaluated. Well-known phenomena of experience-dependent plasticity in other populations, such as musicians, prompts the question of whether such effects exist in DJs in their domain of expertise. This pilot study examined auditory judgments of tempo in 10 professional DJs with experience mixing by ear, compared to 7 percussionists, 12 melodic instrumental musicians, and 11 untrained controls. Participants heard metronome sequences between 80 and 160 beats per minute (BPM) and estimated the tempo. In their most-trained tempo range, 120–139 BPM, DJs were more accurate (lower absolute percent error) than untrained participants. Within the DJ group, 120–139 BPM exhibited greater accuracy than slower tempos of 80–99 or 100–119 BPM. DJs did not differ in accuracy compared to percussionists or melodic musicians on any BPM range. Percussionists were more accurate than controls for 100–119 and 120–139 BPM. The results affirm the experience-dependent skill of professional DJs in temporal perception, with comparable performance to conventionally trained percussionists and instrumental musicians. Additionally, the pattern of results suggests a tempo-specific aspect to this training effect that may be more pronounced in DJs than percussionists and musicians. As one of the first demonstrations of enhanced auditory perception in this unorthodox music expert population, this work opens the way to testing whether DJs also have enhanced rhythmic production abilities, and investigating the neural substrates of this skill compared to conventional musicians.

Expertise- and Tempo-Related Performance Differences in Unimanual Drumming.

High-speed drumming requires precise control over the timing, velocity, and magnitude of striking movements. To examine effects of tempo and expertise on unaccented repetitive drumming performance using 3D motion capture. Expert and amateur drummers performed unimanual, unaccented, repetitive drum strikes, using their dominant right hand, at five different tempi. Performance was examined with regard to timing variability, striking velocity variability, the ability to match the prescribed tempo, and additional variables. Permutated multivariate analysis of variance (PERMANOVA) revealed significant main effects of tempo (p < .001) and expertise (p <.001) on timing variability and striking velocity variability; low timing variability and low striking velocity variability were associated with low/medium tempo as well as with increased expertise. Individually, improved precision appeared across an optimum tempo range. Precision was poorest at maximum tempo (400 hits per minute) for precision variables. Expert drummers demonstrated greater precision and consistency than amateurs. Findings indicate an optimum tempo range that extends with increased expertise.

Is music a mediator impacting car following when driver’s personalities are considered

Music can influence car following performance. However, it is not well resolved about its mediation effect on car following when the drivers’ personalities are considered. We investigated how music style and tempo influence car following with different personalities. Twelve tracks were used in this study, four for each music tempo range, i.e., slow, medium, and fast tempo, and six for each music style, i.e., classical and pop one. The results showed introverts were more susceptible to music, and tend to listen to slow tempo music and classical one. In addition, pop music aroused the drivers more than classical and may induce closer headway distance. Furthermore, with the tempo speeding up, the drivers were more excited, less concentrated and performed less stablely. The medium music tempo was the most appropriate choice for keeping stable headway distance and taking actions to the changes of the leading vehicle. The present study shows personality can mediate the influence of music listening while driving, and music style and tempo can impact the mediation in a specific way. The study provides a guide on the music choice during driving and may bring benefits to the configuration of the music radio program and car music player.

Slow and fast beat sequences are represented differently through space.

The Spatial-Numerical Association of Response Codes (SNARC) suggests the existence of an association between number magnitude and response position, with faster left-hand responses to small numbers and faster right-hand responses to large numbers. Recent studies have revealed similar spatial association effects for non-numerical magnitudes, such as temporal durations and musical stimuli. In the present study we investigated whether a spatial association effect exists between music tempo, expressed in beats per minutes (bpm), and response position. In particular, we were interested in whether this effect is consistent through different bpm ranges. We asked participants to judge whether a target beat sequence was faster or slower than a reference sequence. Three groups of participants judged beat sequences from three different bpm ranges, a wide range (40, 80, 160, 200 bpm) and two narrow ranges ("slow" tempo, 40, 56, 88, 104 bpm; "fast" tempo 133, 150, 184, 201 bpm). Results showed a clear SNARC-like effect for music tempo only in the narrow "fast" tempo range, with faster left-hand responses to 133 and 150 bpm and faster right-hand responses to 184 and 201 bpm. Conversely, a similar association did not emerge in the wide nor in the narrow "slow" tempo ranges. This evidence suggests that music tempo is spatially represented as other continuous quantities, but its representation might be narrowed to a particular range of tempos. Moreover, music tempo and temporal duration might be represented across space with an opposite direction.

Adagio music effects in normal primigravidas labour reduced pain perception, the active phase of first stage labour duration, and serum cortisol in RSAB Harapan Kita Jakarta: A clinical trial

Introduction: Labour is suppose to be a joyful and wonderful moment in women reproduction period, nevertheless almost 60% primigravidas perceived severe labour pain. Adagio music could be relaxing and anxioalgolytic due to similarity tempo range to the normal respiratory rate and heartbeat (Relaxing and Anxioalgolytic Music). Theories of Fear–Tension-Pain, Beck Pain Chain, Gate Control, and Relaxation of Benson were theoretical frameworks for this study.

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.

Aspects of Tempo and Rhythmic Elaboration in Hindustani Music: A Corpus Study

This paper provides insights into aspects of tempo and rhythmic elaboration in Hindustani music, based on a study of a large corpus of recorded performances. Typical tempo developments and stress patterns within a metrical cycle are computed, which we refer to as tempo and rhythm patterns, respectively. Rhythm patterns are obtained by aggregating spectral features over metrical cycles. They reflect percussion patterns that are frequent in the corpus, and enable a discussion of the relation between such patterns and the underlying metrical framework, the taal. Tempo patterns, on the other hand, are computed using reference beat annotations. They document the dynamic development of tempo throughout a metrical cycle, and reveal insights into the flexibility of time in Hindustani music for the first time using quantitative methods on a large set of performances. Focusing on aspects of tempo and rhythm, we demonstrate the value of a computational methodology for the analysis of large music corpora by revealing the range of tempi used in performances, intra-cycle tempo dynamics and percussion accents at different positions of the taal cycle.

Northern Elephant Seals Memorize the Rhythm and Timbre of Their Rivals’ Voices

The evolutionary origin of rhythm perception, a cognitive ability essential to musicality, remains unresolved [1-5]. The ability to perceive and memorize rhythmic sounds is widely shared among humans [6] but seems rare among other mammals [7, 8]. Although the perception of temporal metrical patterns has been found in a few species, this ability has only been demonstrated through behavioral training [9] (but see [10] for an example of spontaneous tempo coordination in a bonobo), and there is no experimental evidence to indicate its biological function. Furthermore, there is no example of a non-human mammal able to remember and recognize auditory rhythmic patterns among a wide range of tempi. In the northern elephant seal Mirounga angustirostris, the calls of mature males comprise a rhythmic series of pulses, with the call of each individual characterized by its tempo and timbre; these individual vocal signatures are stable over years and across contexts [11]. Here, we report that northern elephant seal males routinely memorize and recognize the unique tempo and timbre of their rivals' voices and use this rhythmic information to individually identify competitors, which facilitates navigation within the social network of the rookery. By performing playbacks with natural and modified vocalizations, we show that males are sensitive to call rhythm disruption independently of modification of spectral features and that they use both temporal and spectral cues to identify familiar rivals. While spectral features of calls typically encode individual identity in mammalian vocalizations [12], this is the first example of this phenomenon involving sound rhythm.

Intracerebral evidence of rhythm transform in the human auditory cortex.

Musical entrainment is shared by all human cultures and the perception of a periodic beat is a cornerstone of this entrainment behavior. Here, we investigated whether beat perception might have its roots in the earliest stages of auditory cortical processing. Local field potentials were recorded from 8 patients implanted with depth-electrodes in Heschl's gyrus and the planum temporale (55 recording sites in total), usually considered as human primary and secondary auditory cortices. Using a frequency-tagging approach, we show that both low-frequency (<30Hz) and high-frequency (>30Hz) neural activities in these structures faithfully track auditory rhythms through frequency-locking to the rhythm envelope. A selective gain in amplitude of the response frequency-locked to the beat frequency was observed for the low-frequency activities but not for the high-frequency activities, and was sharper in the planum temporale, especially for the more challenging syncopated rhythm. Hence, this gain process is not systematic in all activities produced in these areas and depends on the complexity of the rhythmic input. Moreover, this gain was disrupted when the rhythm was presented at fast speed, revealing low-pass response properties which could account for the propensity to perceive a beat only within the musical tempo range. Together, these observations show that, even though part of these neural transforms of rhythms could already take place in subcortical auditory processes, the earliest auditory cortical processes shape the neural representation of rhythmic inputs in favor of the emergence of a periodic beat.

Tempo in Baroque Music and Dance

Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.

Cortical entrainment to music and its modulation by expertise

Recent studies establish that cortical oscillations track naturalistic speech in a remarkably faithful way. Here, we test whether such neural activity, particularly low-frequency (<8 Hz; delta-theta) oscillations, similarly entrain to music and whether experience modifies such a cortical phenomenon. Music of varying tempi was used to test entrainment at different rates. In three magnetoencephalography experiments, we recorded from nonmusicians, as well as musicians with varying years of experience. Recordings from nonmusicians demonstrate cortical entrainment that tracks musical stimuli over a typical range of tempi, but not at tempi below 1 note per second. Importantly, the observed entrainment correlates with performance on a concurrent pitch-related behavioral task. In contrast, the data from musicians show that entrainment is enhanced by years of musical training, at all presented tempi. This suggests a bidirectional relationship between behavior and cortical entrainment, a phenomenon that has not previously been reported. Additional analyses focus on responses in the beta range (∼15-30 Hz)-often linked to delta activity in the context of temporal predictions. Our findings provide evidence that the role of beta in temporal predictions scales to the complex hierarchical rhythms in natural music and enhances processing of musical content. This study builds on important findings on brainstem plasticity and represents a compelling demonstration that cortical neural entrainment is tightly coupled to both musical training and task performance, further supporting a role for cortical oscillatory activity in music perception and cognition.

Rhythm perception, production, and synchronization during the perinatal period.

Sensori-motor synchronization (SMS) is the coordination of rhythmic movement with an external rhythm. It plays a central role in motor, cognitive, and social behavior. SMS is commonly studied in adults and in children from four years of age onward. Prior to this age, the ability has rarely been investigated due to a lack of available methods. The present paper reviews what is known about SMS in young children, infants, newborns, and fetuses. The review highlights fetal and infant perception of rhythm and cross modal perception of rhythm, fetal, and infant production of rhythm and cross modal production of rhythm, and the contexts in which production of rhythm can be observed in infants. A primary question is whether infants, even newborns, can modify their spontaneous rhythmical motor behavior in response to external rhythmical stimulation. Spontaneous sucking, crying, and leg movements have been studied in the presence or absence of rhythmical auditory stimulation. Findings suggest that the interaction between movement and sound is present at birth and that SMS can be observed in special conditions and within a narrow range of tempi, particularly near the infant’s own spontaneous motor tempo. The discussion centers on the fundamental role of SMS in interaction and communication at the beginning of life.

Beat-induced fluctuations in auditory cortical beta-band activity: using EEG to measure age-related changes.

People readily extract regularity in rhythmic auditory patterns, enabling prediction of the onset of the next beat. Recent magnetoencephalography (MEG) research suggests that such prediction is reflected by the entrainment of oscillatory networks in the brain to the tempo of the sequence. In particular, induced beta-band oscillatory activity from auditory cortex decreases after each beat onset and rebounds prior to the onset of the next beat across tempi in a predictive manner. The objective of the present study was to examine the development of such oscillatory activity by comparing electroencephalography (EEG) measures of beta-band fluctuations in 7-year-old children to adults. EEG was recorded while participants listened passively to isochronous tone sequences at three tempi (390, 585, and 780 ms for onset-to-onset interval). In adults, induced power in the high beta-band (20–25 Hz) decreased after each tone onset and rebounded prior to the onset of the next tone across tempo conditions, consistent with MEG findings. In children, a similar pattern was measured in the two slower tempo conditions, but was weaker in the fastest condition. The results indicate that the beta-band timing network works similarly in children, although there are age-related changes in consistency and the tempo range over which it operates.

The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Prediction (ASAP) hypothesis.

Every human culture has some form of music with a beat: a perceived periodic pulse that structures the perception of musical rhythm and which serves as a framework for synchronized movement to music. What are the neural mechanisms of musical beat perception, and how did they evolve? One view, which dates back to Darwin and implicitly informs some current models of beat perception, is that the relevant neural mechanisms are relatively general and are widespread among animal species. On the basis of recent neural and cross-species data on musical beat processing, this paper argues for a different view. Here we argue that beat perception is a complex brain function involving temporally-precise communication between auditory regions and motor planning regions of the cortex (even in the absence of overt movement). More specifically, we propose that simulation of periodic movement in motor planning regions provides a neural signal that helps the auditory system predict the timing of upcoming beats. This “action simulation for auditory prediction” (ASAP) hypothesis leads to testable predictions. We further suggest that ASAP relies on dorsal auditory pathway connections between auditory regions and motor planning regions via the parietal cortex, and suggest that these connections may be stronger in humans than in non-human primates due to the evolution of vocal learning in our lineage. This suggestion motivates cross-species research to determine which species are capable of human-like beat perception, i.e., beat perception that involves accurate temporal prediction of beat times across a fairly broad range of tempi.