Peter E. Keller

Adaptation to tempo changes in sensorimotor synchronization: effects of intention, attention, and awareness.

Adaptation to tempo changes in sensorimotor synchronization is hypothesized to rest on two processes, one (phase correction) being largely automatic and the other (period correction) requiring conscious awareness and attention. In this study, participants tapped their finger in synchrony with auditory sequences containing a tempo change and continued tapping after sequence termination. Their intention to adapt or not to adapt to the tempo change was manipulated through instructions, their attentional resources were varied by introducing a concurrent secondary task (mental arithmetic), and their awareness of the tempo changes was assessed through perceptual judgements. As predicted, period correction was found to be strongly dependent on all three variables, whereas phase correction depended only on intention.

Intention-based and stimulus-based mechanisms in action selection

Human actions can be classified as being either more stimulus-based or more intention-based. According to the ideomotor framework of action control, intention-based actions primarily refer to anticipated action effects (in other words response-stimulus [R-S] bindings), whereas stimulus-based actions are commonly assumed to be more strongly determined by stimulus-response [S-R] bindings. We explored differences in the functional signatures of both modes of action control in a temporal bisection task. Participants either performed a choice response by pressing one out of two keys in response to a preceding stimulus (stimulus-based action), or pressed one out of two keys to produce the next stimulus (intention-based action). In line with the ideomotor framework, we found intention-based actions to be shifted in time towards their anticipated effects (the next stimulus), whereas stimulus-based actions were shifted towards their preceding stimulus. Event-related potentials (ERPs) in the EEG revealed marked differences in action preparation for the two tasks. The data as a whole provide converging evidence for functional differences in the selection of motor actions as a function of their triggering conditions, and support the notion of two different modes of action selection, one being exogenous or mainly stimulus-driven, the other being endogenous or mainly intention-driven.

Individual Differences, Auditory Imagery, and the Coordination of Body Movements and Sounds in Musical Ensembles

The Role of Anticipatory Auditory Imagery in musical ensemble performance was investigated by examining the relationship between individual differences in auditory imagery and temporal coordination in piano duos. Vividness of imagery for upcoming sounds was assessed in 14 pianists using a task that required the production of rhythmic sequences with or without auditory feedback. Ensemble coordination was assessed by examining temporal relations between body movements (recorded by a motion capture system) and sound onsets (triggered by key strokes on two MIDI pianos) in seven duos playing two contrasting pieces with or without visual contact. Sound synchrony was found to be related to anterior-posterior body sway coordination in a manner that depended upon leader/follower relations between pianists assigned to 9primo9 and 9secondo9 parts. Furthermore, the quality of coordination, which was not affected markedly by whether pianists were in visual contact, was correlated with individual differences in anticipatory auditory imagery. These findings suggest that auditory imagery facilitates interpersonal coordination by enhancing the operation of internal models that simulate one9s own and others9 actions during ensemble performance.

Action planning in sequential skills: Relations to music performance

The hypothesis that planning music-like sequential actions involves anticipating their auditory effects was investigated in a series of experiments. Participants with varying levels of musical experience responded to each of four colour-patch stimuli by producing a unique sequence of three taps on three vertically aligned keys. Each tap triggered a tone in most experimental conditions. Response–effect (key-to-tone) mapping was either compatible—taps on the top, middle, and bottom keys triggered high, medium, and low pitched tones, respectively—or incompatible—key-to-tone mapping was scrambled, reversed, or neutral (taps on different keys triggered the same tone). The results suggest that action planning was faster with compatible than with incompatible mappings (and faster than with no tones). Furthermore, the size of this compatibility effect grew with increasing musical experience, which suggests that improvements in auditory imagery ability that typically accompany musical training may augment the role of anticipatory auditory-effect representations during planning.

The ideomotor approach to action control: Implications for skilled performance

Abstract Ideomotor approaches to motor control focus on the cognitive mechanisms underlying voluntary action selection. Ideomotor theory states that actions are cognitively represented in terms of their anticipated sensory consequences (response effects) and that there are bidirectional associations between movements and ensuing response effects. Accordingly, the anticipation of response effects may serve as a mental cue to activate the corresponding movement. The aim of the present paper is to describe the general principles of ideomotor theory and to review recent empirical work that supports this theory. Specifically, we describe studies on the role of response effects for the selection and initiation of simple actions and for learning and performing action sequences. Finally, we discuss potential implications of these results for sport psychology, in particular with reference to the role of motor imagery in mental practice.

Auditory Pitch Imagery and Its Relationship to Musical Synchronization

Musical ensemble performance requires precise coordination of action. To play in synchrony, ensemble musicians presumably anticipate the sounds that will be produced by their co‐performers. These predictions may be based on auditory images in working memory. This study examined the contribution of auditory imagery abilities to sensorimotor synchronization (SMS) in 20 musicians. The acuity of single‐tone pitch images was measured by an adjustment method and by adaptive threshold estimation. Different types of finger tapping tasks were administered to assess SMS. Auditory imagery and SMS abilities were found to be positively correlated with one another and with musical experience.

Auditory Imagery Shapes Movement Timing and Kinematics: Evidence From a Musical Task

The role of anticipatory auditory imagery in music-like sequential action was investigated by examining timing accuracy and kinematics using a motion capture system. Musicians responded to metronomic pacing signals by producing three unpaced taps on three vertically aligned keys at the given tempo. Taps triggered tones in two out of three blocked feedback conditions, where key-to-tone mappings were compatible or incompatible in terms of spatial and pitch height. Results indicate that, while timing was most accurate without tones, movements were smaller in amplitude and less forceful (i.e., acceleration prior to impact was lowest) when tones were present. Moreover, timing was more accurate and movements were less forceful with compatible than with incompatible auditory feedback. Observing these effects at the first tap (before tone onset) suggests that anticipatory auditory imagery modulates the temporal kinematics of regularly timed auditory action sequences, like those found in music. Such cross-modal ideomotor processes may function to facilitate planning efficiency and biomechanical economy in voluntary action.

Differences Between Intention-Based and Stimulus-Based Actions

Abstract: Actions carried out in response to exogenous stimuli and actions selected endogenously on the basis of intentions were compared in terms of their behavioral (movement timing) and electrophysiological (EEG) profiles. Participants performed a temporal bisection task that involved making left or right key presses at the midpoint between isochronous pacing signals (a sequence of centrally-presented letters). In separate conditions, the identity of each letter either (1) prescribed the location of the subsequent key press response (stimulus-based) or (2) was determined by the location of the preceding key press, in which case participants were instructed to generate a random sequence of letters (intention-based). The behavioral results indicated that stimulus-based movements occurred earlier in time than intention-based movements. The EEG results revealed that activity reflecting stimulus evaluation and response selection was most pronounced in the stimulus-based condition, whereas activity associate...

The planning and execution of short auditory sequences

Action planning, but not action execution, in speeded tasks is typically faster when responses and their effects are compatible than when they are incompatible. We tested whether response-effect compatibility (REC) affects the execution of music-like sequential actions that require temporal regularity rather than rapidity. Musicians responded to metronomic visual stimuli by producing sequences of three taps at a specific tempo on three vertically aligned keys. Each tap triggered a tone. Key-to-tone mapping was either compatible or incompatible in terms of spatial height and pitch height. The results indicated that tap timing was more accurate with compatible than with incompatible mappings, both for taps produced before (Tap 1) and after (Taps 2 and 3) the onset of auditory feedback. Thus, the observed influence of REC on action execution was not due exclusively to actual auditory feedback. The anticipation of distal action effects may be involved in planning the dynamics of temporally precise movements.

Cues for self-recognition in point-light displays of actions performed in synchrony with music

Self-other discrimination was investigated with point-light displays in which actions were presented with or without additional auditory information. Participants first executed different actions (dancing, walking and clapping) in time with music. In two subsequent experiments, they watched point-light displays of their own or another participants recorded actions, and were asked to identify the agent (self vs. other). Manipulations were applied to the visual information (actions differing in complexity, and degradation from 15 to 2 point-lights within the same clapping action) and to the auditory information (self-generated vs. externally-generated vs. none). Results indicate that self-recognition was better than chance in all conditions and was highest when observing relatively unconstrained patterns of movement. Auditory information did not increase accuracy even with the most ambiguous visual displays, suggesting that judgments of agent identity depend much more on motor cues than on auditory (action-generated) or audiovisual (synchronization) information.