Rhythmic tapping to a moving beat motion kinematics overrules natural gravity

beat induction is the cognitive ability that allows humans to listen to a regular pulse in music and move in synchrony with it. although auditory rhythmic cues induce more consistent synchronization than flashing visual metronomes, this auditory-visual asymmetry can be canceled by visual moving stimuli. here, we investigated whether the naturalness of visual motion or its kinematics could provide a synchronization advantage over flashing metronomes. Subjects were asked to tap in sync with visual metronomes defined by vertically accelerating/decelerating motion, either congruent or not with natural gravity; horizontally accelerating/decelerating motion; or flashing stimuli. we found that motion kinematics was the predominant factor determining rhythm synchronization, as accelerating moving metronomes in any cardinal direction produced more precise and predictive tapping than decelerating or flashing conditions. our results support the notion that accelerating visual metronomes convey a strong sense of beat, as seen in the cueing movements of an orchestra director

DanceAnyWay: Synthesizing Beat-Guided 3D Dances with Randomized Temporal Contrastive Learning

We present DanceAnyWay, a generative learning method to synthesize beat-guided dances of 3D human characters synchronized with music. Our method learns to disentangle the dance movements at the beat frames from the dance movements at all the remaining frames by operating at two hierarchical levels. At the coarser "beat" level, it encodes the rhythm, pitch, and melody information of the input music via dedicated feature representations only at the beat frames. It leverages them to synthesize the beat poses of the target dances using a sequence-to-sequence learning framework. At the finer "repletion" level, our method encodes similar rhythm, pitch, and melody information from all the frames of the input music via dedicated feature representations. It generates the full dance sequences by combining the synthesized beat and repletion poses and enforcing plausibility through an adversarial learning framework. Our training paradigm also enforces fine-grained diversity in the synthesized dances through a randomized temporal contrastive loss, which ensures different segments of the dance sequences have different movements and avoids motion freezing or collapsing to repetitive movements. We evaluate the performance of our approach through extensive experiments on the benchmark AIST++ dataset and observe improvements of about 7%-12% in motion quality metrics and 1.5%-4% in motion diversity metrics over the current baselines, respectively. We also conducted a user study to evaluate the visual quality of our synthesized dances. We note that, on average, the samples generated by our method were about 9-48% more preferred by the participants and had a 4-27% better five-point Likert-scale score over the best available current baseline in terms of motion quality and synchronization. Our source code and project page are available at https://github.com/aneeshbhattacharya/DanceAnyWay.Comment: 11 pages, 7 figures, 3 tables. To appear as part of the proceedings of the 38th Annual AAAI Conference on Artificial Intelligence, 202

Rhythm Rangers:an evaluation of beat synchronisation skills and musical confidence through multiplayer gamification influence

Musical confidence and beat synchronisation skills are explored before and after playing the custom made multiplayer game, Rhythm Rangers. Timing variability is evaluated comparing scores from a repeated baseline test, preand post-game. A qualitative questionnaire assessing musical sophistication, behaviours, and confidence is used for correlation. Participants synchronise claps at quarter-note level to audio loops of varying rhythmic complexity from metronome, to complex syncopated break-beat. The setup comprises bespoke wearable controllers and software integrating multi-sensor microcontrollers (ESP32), a microcomputer (Raspberry Pi), and a visual programming language (Pure Data). Baseline test results indicate better overall beat synchronisation to drum loops compared to a metronome—similar results were found for game scores where the average standard deviation (SD) was highest for the metronome. Average drift variability showed a downward trend for both baseline test loops (metronome and simple drum loop). Total average SD decreased with relation to the amount of rhythmic information in the loops until the complex break-beat. Little correlation between the qualitative data and the participant’s performance during the experiment was found. Dependant samples T-test for the simple drum loop showed a significant effect ( t = −2, 48, p < 0.05). No significant effect for the metronome (t = 0.03, p < 0.05) when comparing the baseline test before and after the game. Participants with least or no improvement found the game most challenging; higher game scores showed the least improvement; less experience with rhythm games showed the most improvement. All participants claimed to have had fun and enjoyed themselves while playing the game

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 (&gt;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

The influence of external and internal motor processes on human auditory rhythm perception

Musical rhythm is composed of organized temporal patterns, and the processes underlying rhythm perception are found to engage both auditory and motor systems. Despite behavioral and neuroscience evidence converging to this audio-motor interaction, relatively little is known about the effect of specific motor processes on auditory rhythm perception. This doctoral thesis was devoted to investigating the influence of both external and internal motor processes on the way we perceive an auditory rhythm. The first half of the thesis intended to establish whether overt body movement had a facilitatory effect on our ability to perceive the auditory rhythmic structure, and whether this effect was modulated by musical training. To this end, musicians and non-musicians performed a pulse-finding task either using natural body movement or through listening only, and produced their identified pulse by finger tapping. The results showed that overt movement benefited rhythm (pulse) perception especially for non-musicians, confirming the facilitatory role of external motor activities in hearing the rhythm, as well as its interaction with musical training. The second half of the thesis tested the idea that indirect, covert motor input, such as that transformed from the visual stimuli, could influence our perceived structure of an auditory rhythm. Three experiments examined the subjectively perceived tempo of an auditory sequence under different visual motion stimulations, while the auditory and visual streams were presented independently of each other. The results revealed that the perceived auditory tempo was accordingly influenced by the concurrent visual motion conditions, and the effect was related to the increment or decrement of visual motion speed. This supported the hypothesis that the internal motor information extracted from the visuomotor stimulation could be incorporated into the percept of an auditory rhythm. Taken together, the present thesis concludes that, rather than as a mere reaction to the given auditory input, our motor system plays an important role in contributing to the perceptual process of the auditory rhythm. This can occur via both external and internal motor activities, and may not only influence how we hear a rhythm but also under some circumstances improve our ability to hear the rhythm.Musikalische Rhythmen bestehen aus zeitlich strukturierten Mustern akustischer Stimuli. Es konnte gezeigt werden, dass die Prozesse, welche der Rhythmuswahrnehmung zugrunde liegen, sowohl motorische als auch auditive Systeme nutzen. Obwohl sich für diese auditiv-motorischen Interaktionen sowohl in den Verhaltenswissenschaften als auch Neurowissenschaften übereinstimmende Belege finden, weiß man bislang relativ wenig über die Auswirkungen spezifischer motorischer Prozesse auf die auditive Rhythmuswahrnehmung. Diese Doktorarbeit untersucht den Einfluss externaler und internaler motorischer Prozesse auf die Art und Weise, wie auditive Rhythmen wahrgenommen werden. Der erste Teil der Arbeit diente dem Ziel herauszufinden, ob körperliche Bewegungen es dem Gehirn erleichtern können, die Struktur von auditiven Rhythmen zu erkennen, und, wenn ja, ob dieser Effekt durch ein musikalisches Training beeinflusst wird. Um dies herauszufinden wurde Musikern und Nichtmusikern die Aufgabe gegeben, innerhalb von präsentierten auditiven Stimuli den Puls zu finden, wobei ein Teil der Probanden währenddessen Körperbewegungen ausführen sollte und der andere Teil nur zuhören sollte. Anschließend sollten die Probanden den gefundenen Puls durch Finger-Tapping ausführen, wobei die Reizgaben sowie die Reaktionen mittels eines computerisierten Systems kontrolliert wurden. Die Ergebnisse zeigen, dass offen ausgeführte Bewegungen die Wahrnehmung des Pulses vor allem bei Nichtmusikern verbesserten. Diese Ergebnisse bestätigen, dass Bewegungen beim Hören von Rhythmen unterstützend wirken. Außerdem zeigte sich, dass hier eine Wechselwirkung mit dem musikalischen Training besteht. Der zweite Teil der Doktorarbeit überprüfte die Idee, dass indirekte, verdeckte Bewegungsinformationen, wie sie z.B. in visuellen Stimuli enthalten sind, die wahrgenommene Struktur von auditiven Rhythmen beeinflussen können. Drei Experimente untersuchten, inwiefern das subjektiv wahrgenommene Tempo einer akustischen Sequenz durch die Präsentation unterschiedlicher visueller Bewegungsreize beeinflusst wird, wobei die akustischen und optischen Stimuli unabhängig voneinander präsentiert wurden. Die Ergebnisse zeigten, dass das wahrgenommene auditive Tempo durch die visuellen Bewegungsinformationen beeinflusst wird, und dass der Effekt in Verbindung mit der Zunahme oder Abnahme der visuellen Geschwindigkeit steht. Dies unterstützt die Hypothese, dass internale Bewegungsinformationen, welche aus visuomotorischen Reizen extrahiert werden, in die Wahrnehmung eines auditiven Rhythmus integriert werden können. Zusammen genommen, 5 zeigt die vorgestellte Arbeit, dass unser motorisches System eine wichtige Rolle im Wahrnehmungsprozess von auditiven Rhythmen spielt. Dies kann sowohl durch äußere als auch durch internale motorische Aktivitäten geschehen, und beeinflusst nicht nur die Art, wie wir Rhythmen hören, sondern verbessert unter bestimmten Bedingungen auch unsere Fähigkeit Rhythmen zu identifizieren

The evolution of rhythmic cognition: New perspectives and technologies in comparative research

Music is a pervasive phenomenon in human culture, and musical rhythm is virtually present in all musical traditions. Research on the evolution and cognitive underpinnings of rhythm can benefit from a number of approaches. We outline key concepts and definitions, allowing fine-grained analysis of rhythmic cognition in experimental studies. We advocate comparative animal research as a useful approach to answer questions about human music cognition and review experimental evidence from different species. Finally, we suggest future directions for research on the cognitive basis of rhythm. Apart from research in semi-natural setups, possibly allowed by “drum set for chimpanzees” prototypes presented here for the first time, mathematical modeling and systematic use of circular statistics may allow promising advances

Bipedal steps in the development of rhythmic behavior in humans

We contrast two related hypotheses of the evolution of dance: H1: Maternal bipedal walking influenced the fetal experience of sound and associated movement patterns; H2: The human transition to bipedal gait produced more isochronous/predictable locomotion sound resulting in early music-like behavior associated with the acoustic advantages conferred by moving bipedally in pace. The cadence of walking is around 120 beats per minute, similar to the tempo of dance and music. Human walking displays long-term constancies. Dyads often subconsciously synchronize steps. The major amplitude component of the step is a distinctly produced beat. Human locomotion influences, and interacts with, emotions, and passive listening to music activates brain motor areas. Across dance-genres the footwork is most often performed in time to the musical beat. Brain development is largely shaped by early sensory experience, with hearing developed from week 18 of gestation. Newborns reacts to sounds, melodies, and rhythmic poems to which they have been exposed in utero. If the sound and vibrations produced by footfalls of a walking mother are transmitted to the fetus in coordination with the cadence of the motion, a connection between isochronous sound and rhythmical movement may be developed. Rhythmical sounds of the human mother locomotion differ substantially from that of nonhuman primates, while the maternal heartbeat heard is likely to have a similar isochronous character across primates, suggesting a relatively more influential role of footfall in the development of rhythmic/musical abilities in humans. Associations of gait, music, and dance are numerous. The apparent absence of musical and rhythmic abilities in nonhuman primates, which display little bipedal locomotion, corroborates that bipedal gait may be linked to the development of rhythmic abilities in humans. Bipedal stimuli in utero may primarily boost the ontogenetic development. The acoustical advantage hypothesis proposes a mechanism in the phylogenetic development

Electronic Dance Music in Narrative Film

As a growing number of filmmakers are moving away from the traditional model of orchestral underscoring in favor of a more contemporary approach to film sound, electronic dance music (EDM) is playing an increasingly important role in current soundtrack practice. With a focus on two specific examples, Tom Tykwer’s Run Lola Run (1998) and Darren Aronofsky’s Pi (1998), this essay discusses the possibilities that such a distinctive aesthetics brings to filmmaking, especially with regard to audiovisual rhythm and sonic integration

Rhythmic Micro-Gestures: Discreet Interaction On-the-Go

We present rhythmic micro-gestures, micro-movements of the hand that are repeated in time with a rhythm. We present a user study that investigated how well users can perform rhythmic micro-gestures and if they can use them eyes-free with non-visual feedback. We found that users could successfully use our interaction technique (97% success rate across all gestures) with short interaction times, rating them as low difficulty as well. Simple audio cues that only convey the rhythm outperformed animations showing the hand movements, supporting rhythmic micro-gestures as an eyes-free input technique