TY - JOUR
T1 - The roles of musical expertise and sensory feedback in beat keeping and joint action
AU - Schultz, Benjamin G
AU - Palmer, Caroline
N1 - Funding Information:
This work was supported by a Canada Research Chair and NSERC grant 298173 awarded to Caroline Palmer. The authors would like to thank James O’Callaghan for his aid in the construction of the Max/MSP script, and Nancy Li and Henri Rabalais for their assistance in data collection. Correspondence concerning this article should be addressed to Benjamin G. Schultz who is presently at the Department of Psychopharmacology and Neuropsychology, Faculty of Psychology & Neuroscience, Maastricht University, Universiteitssingel 40, Maastricht, 6229 ER, Netherlands, [email protected] or to Caroline Palmer, Department of Psychology, McGill University, 1205 Dr. Penfield Ave., Montreal, QC, H3A 1B1, Canada, [email protected].
Funding Information:
Acknowledgements This work was supported by a Canada Research Chair and NSERC grant 298173 awarded to Caroline Palmer. The authors would like to thank James O’Callaghan for his aid in the construction of the Max/MSP script, and Nancy Li and Henri Rabalais for their assistance in data collection. Correspondence concerning this article should be addressed to Benjamin G. Schultz who is presently at the Department of Psychopharmacology and Neuropsychology, Faculty of Psychology & Neuroscience, Maastricht University, Universiteitssin-gel 40, Maastricht, 6229 ER, Netherlands, [email protected] or to Caroline Palmer, Department of Psychology, McGill University, 1205 Dr. Penfield Ave., Montreal, QC, H3A 1B1, Canada, [email protected].
Publisher Copyright:
© 2019, The Author(s).
PY - 2019/4
Y1 - 2019/4
N2 - Auditory feedback of actions provides additional information about the timing of one's own actions and those of others. However, little is known about how musicians and nonmusicians integrate auditory feedback from multiple sources to regulate their own timing or to (intentionally or unintentionally) coordinate with a partner. We examined how musical expertise modulates the role of auditory feedback in a two-person synchronization-continuation tapping task. Pairs of individuals were instructed to tap at a rate indicated by an initial metronome cue in all four auditory feedback conditions: no feedback, self-feedback (cannot hear their partner), other feedback (cannot hear themselves), or full feedback (both self and other). Participants within a pair were either both musically trained (musicians), both untrained (nonmusicians), or one musically trained and one untrained (mixed). Results demonstrated that all three pair types spontaneously synchronized with their partner when receiving other or full feedback. Moreover, all pair types were better at maintaining the metronome rate with self-feedback than with no feedback. Musician pairs better maintained the metronome rate when receiving other feedback than when receiving no feedback; in contrast, nonmusician pairs were worse when receiving other or full feedback compared to no feedback. Both members of mixed pairs maintained the metronome rate better in the other and full feedback conditions than in the no feedback condition, similar to musician pairs. Overall, nonmusicians benefited from musicians' expertise without negatively influencing musicians' ability to maintain the tapping rate. One implication is that nonmusicians may improve their beat-keeping abilities by performing tasks with musically skilled individuals.
AB - Auditory feedback of actions provides additional information about the timing of one's own actions and those of others. However, little is known about how musicians and nonmusicians integrate auditory feedback from multiple sources to regulate their own timing or to (intentionally or unintentionally) coordinate with a partner. We examined how musical expertise modulates the role of auditory feedback in a two-person synchronization-continuation tapping task. Pairs of individuals were instructed to tap at a rate indicated by an initial metronome cue in all four auditory feedback conditions: no feedback, self-feedback (cannot hear their partner), other feedback (cannot hear themselves), or full feedback (both self and other). Participants within a pair were either both musically trained (musicians), both untrained (nonmusicians), or one musically trained and one untrained (mixed). Results demonstrated that all three pair types spontaneously synchronized with their partner when receiving other or full feedback. Moreover, all pair types were better at maintaining the metronome rate with self-feedback than with no feedback. Musician pairs better maintained the metronome rate when receiving other feedback than when receiving no feedback; in contrast, nonmusician pairs were worse when receiving other or full feedback compared to no feedback. Both members of mixed pairs maintained the metronome rate better in the other and full feedback conditions than in the no feedback condition, similar to musician pairs. Overall, nonmusicians benefited from musicians' expertise without negatively influencing musicians' ability to maintain the tapping rate. One implication is that nonmusicians may improve their beat-keeping abilities by performing tasks with musically skilled individuals.
KW - SENSORIMOTOR SYNCHRONIZATION
KW - AUDITORY-FEEDBACK
KW - COORDINATION
KW - MOVEMENTS
KW - TIME
KW - PERFORMANCE
KW - STRENGTHENS
KW - PREDICTION
KW - MOTION
U2 - 10.1007/s00426-019-01156-8
DO - 10.1007/s00426-019-01156-8
M3 - Article
C2 - 30805705
SN - 0340-0727
VL - 83
SP - 419
EP - 431
JO - Psychological Research
JF - Psychological Research
IS - 3
ER -