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Cross-Cultural Rhythm Perception & Production Study: Impact on Musical Training & Cultural Exposure

This study by Makiko Sadakata and Peter Desain explores the impact of proactive musical training and passive exposure to music on rhythm perception and production across different cultures. The research delves into how cognitive complexity and cultural influences affect individuals' perception and production of rhythmic patterns. The findings reveal systematic cultural differences in rhythm production, with a stronger preference for syncopated patterns in certain cultures. The results suggest a hierarchical mental representation of rhythm based on metrical structure, showing how cultural factors and musical training shape individuals' rhythmic abilities.

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Cross-Cultural Rhythm Perception & Production Study: Impact on Musical Training & Cultural Exposure

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  1. Cross-cultural Study of Rhythm Perception and Production Makiko Sadakata & Peter Desain NICI, Radboud University Nijmegen RPPW 2005, 2-6, July

  2. Impact of proactive actions Musical training have an effect on • Perception: Deeper understanding of the structure Increased sensitivity to the diverse beat levels (Drake, 1993; Drake & Penel, 2000) • Production: More expressive and consistent timing profiles (Drake & Palmer, 2000)

  3. Impact of passive exposure Amount of exposure to a certain music style have an effect on • Perception Beat levels (Drake & El Heni, 2003) Detection of altered context (Hannon & Trehub, 2005) Perceptual grouping (Iversen, Patel & Ohgushi, 2004) • Production Characteristic performance timing (Ohgushi, 2001; Sadakata, Desain & Ohgushi, 2004)

  4. Effect of a non-musical factor? • Japanese are exposed to western tonal music as often as Westerners are. Speech rhythm plays a role on temporal processing in music : nPVI (Patel & Danielle, 2003, Huron & Ollen, 2003; Sadakata & Desain, submitted)

  5. Issues Relation between cognitive complexity and the degree of the cultural impact. This will be clarified using rhythmic stimuli labeled according to their cognitive complexity. Rhythm perception and production in relation to speech rhythm. This will be clarified by using the perception and production nPVI.

  6. 4 experiments • Rhythm perception • (Consistency) • Rhythm production • (Familiarity Judgement) • N=36 (18 NL, 18 JP), • Conservatory piano major students • Mean age: 22

  7. Rhythm description Three-intervals provided by two different forms Sound stimuli - performance midi files Score stimuli - CMN figures

  8. Perception Experiment

  9. Production Experiment

  10. Sound stimuli Rhythm Space: Desain & Honing, 2003

  11. Syncopation Level(Longuet-Higgins & Lee, 1984) 0 : No syncopation I : Syncopation strength 0 II : Syncopation strength 1 III : Syncopation strength 2 IV : 2 syncopations

  12. nPVI nPVI (Grave, Post, & Watson, 1999) calculates the durational variability of successive duration. Speech rhythm: Stress-timed > Syllable-timed (Grabe & Low, 2002) Musical rhythm: Stress-timed > Syllable-timed (Patel & Danielle 2003) (Japanese) (Japanese?)

  13. Result: Perception 4/4

  14. Result Perception 6/8

  15. Result Perception 3/4

  16. Production

  17. Production nPVI

  18. Summary of the result • Systematic cultural difference only found in production. • Cultural difference was found in more syncopated patterns. • Tendency of the speech nPVI did not account for the data.

  19. Comparison of Syncopation level and nPVI

  20. Conclusion • There seems to be a relation between cognitive complexity and degree of cultural difference on rhythm production. • A hierarchical mental representation of rhythm based on metrical structure corresponds better to the data than a serial representation.

  21. Effect of the time signature • The effect of the time signature was found in the scores having more contrasted syncopation levels when presented in 3/4 and 6/8.

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