Cross-feedback with Partner Contributes to Performance Accuracy in Finger-tapping Rhythm Synchronization between One Leader and Two Followers

Effect of time delay on performance and timing control in dyadic rhythm coordination using finger tapping

In musical ensembles, people synchronise with each other despite the presence of time delays such as those related to sound transmission. However, the ways in which time delays in synchronisation are overcome remain unclear. This study aimed to investigate the basic characteristics and mechanism of synchronisation with time delays using a dyadic synchronisation-continuation finger-tapping task with time delays ranging from 0 to 240 ms. The results reveal that synchronisation performance improved under time delays of 40-160 ms compared with in the other conditions. This tolerance to the time delay could have been because such a delay allowed both participants in each pair to tap before receiving the stimuli from their partner, as seen in synchronisation with a constant-tempo metronome. In addition, the dependency of the timing control on the partner's previous inter-tap interval decreased at a time delay of 80 ms, relating to the fact that the acceleration and deceleration of the tapping tempo reduced under certain time delays, while the synchronisation performance improved. Uncertainty in the timing of the partner's stimulus could induce greater anticipatory responses, making it possible to tolerate longer time delays in dyadic finger-tapping tasks.

Preceding and trailing role-taking in dyad synchronization using finger tapping

In ensembles, people synchronize the timings of their movements with those of others. Players sometimes take on preceding and trailing roles, whereby one's beat is either slightly earlier or slightly later than that of another. In this study, we aimed to clarify whether the division of preceding and trailing roles occurs in simple rhythmic coordination among non-musicians. Additionally, we investigated the temporal dependencies between these roles. We conducted a synchronous-continuous tapping task involving pairs of people, whereby pairs of participants first tapped to synchronize with a metronome. After the metronome stopped, the participants synchronized their taps to their partners' tap timings, which were presented as auditory stimuli. Except in one trial, the pairs involved participants taking on preceding and trailing roles. Compared to the participants taking on the trailing role, those taking on the preceding role demonstrated enhanced phase-correction responses, while those taking on the trailing role significantly adapted their tempos to match those of their partners. As a result, people spontaneously divided into preceding and trailing roles. The preceding participants tended to reduce asynchronies, while the trailing participants tended to match their tempo to their partners'.

The Groove Enhancement Machine (GEM): A Multi-Person Adaptive Metronome to Manipulate Sensorimotor Synchronization and Subjective Enjoyment

Synchronization of movement enhances cooperation and trust between people. However, the degree to which individuals can synchronize with each other depends on their ability to perceive the timing of others’ actions and produce movements accordingly. Here, we introduce an assistive device—a multi-person adaptive metronome—to facilitate synchronization abilities. The adaptive metronome is implemented on Arduino Uno circuit boards, allowing for negligible temporal latency between tapper input and adaptive sonic output. Across five experiments—two single-tapper, and three group (four tapper) experiments, we analyzed the effects of metronome adaptivity (percent correction based on the immediately preceding tap-metronome asynchrony) and auditory feedback on tapping performance and subjective ratings. In all experiments, tapper synchronization with the metronome was significantly enhanced with 25–50% adaptivity, compared to no adaptation. In group experiments with auditory feedback, synchrony remained enhanced even at 70–100% adaptivity; without feedback, synchrony at these high adaptivity levels returned to near baseline. Subjective ratings of being in the groove, in synchrony with the metronome, in synchrony with others, liking the task, and difficulty all reduced to one latent factor, which we termed enjoyment. This same factor structure replicated across all experiments. In predicting enjoyment, we found an interaction between auditory feedback and metronome adaptivity, with increased enjoyment at optimal levels of adaptivity only with auditory feedback and a severe decrease in enjoyment at higher levels of adaptivity, especially without feedback. Exploratory analyses relating person-level variables to tapping performance showed that musical sophistication and trait sadness contributed to the degree to which an individual differed in tapping stability from the group. Nonetheless, individuals and groups benefitted from adaptivity, regardless of their musical sophistication. Further, individuals who tapped less variably than the group (which only occurred ∼25% of the time) were more likely to feel “in the groove.” Overall, this work replicates previous single person adaptive metronome studies and extends them to group contexts, thereby contributing to our understanding of the temporal, auditory, psychological, and personal factors underlying interpersonal synchrony and subjective enjoyment during sensorimotor interaction. Further, it provides an open-source tool for studying such factors in a controlled way.

Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music

Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue 'Synchrony and rhythm interaction: from the brain to behavioural ecology'.