Rhythmic Prototypes Across Cultures

Author:

Polak Rainer1,Jacoby Nori2,Fischinger Timo1,Goldberg Daniel3,Holzapfel Andre4,London Justin5

Affiliation:

1. Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany

2. Columbia University

3. University of Connecticut

4. KTH Royal Institute of Technology, Stockholm, Sweden

5. Carleton College

Abstract

It has long been assumed that rhythm cognition builds on perceptual categories tied to prototypes defined by small-integer ratios, such as 1:1 and 2:1. This study aims to evaluate the relative contributions of both generic constraints and selected cultural particularities in shaping rhythmic prototypes. We experimentally tested musicians’ synchronization (finger tapping) with simple periodic rhythms at two different tempi with participants in Mali, Bulgaria, and Germany. We found support both for the classic assumption that 1:1 and 2:1 prototypes are widespread across cultures and for culture-dependent prototypes characterized by more complex ratios such as 3:2 and 4:3. Our findings suggest that music-cultural environments specify links between music performance patterns and perceptual prototypes.

Publisher

University of California Press

Subject

Music

Reference156 articles.

1. Here and in the following, we comply with terminological usage in the literature on rhythm perception in referring to only the very simplest of small-integer ratios (1:1, 2:1, and 3:1) as “simple.” By contrast, we speak of 3:2, 4:3, or larger integer ratios as “(mildly) complex” rhythms. This may appear mathematically dubious; for instance, the ratio of 3:2 consists of very small integers and is mathematically simple. However, its dividend is not an integer multiple of the divisor; in other words, the quotient is not also an integer. This involves a somewhat higher degree of rhythmic complexity. For instance, 1:1, 2:1, and 3:1 are simple in that their greatest common divisor (gcd = 1) can be used as a unit of measure for interpolation-based coordination of the two durations (1:1 = xx, 2:1 = x.x, 3:1 = x.x). This property is advantageous, as it affords a metric subdivision benefit for rhythm perception (London, 2012; Martens, 2011; Repp, 2003, 2008). By contrast, a gcd-based mental plotting of a 3:2 pattern would require quintuplet subdivision (x..x.). The gcd (= 1) here is not directly suggested by any of the two sounding intervals (= 2, 3) and requires more interpolations (= 3) relative to the realized onsets (= 2); furthermore, it is more rapid relative to the rhythmic pattern. These features can be assumed to result in a drastic decrease of potential subdivision benefit for processing this rhythm.

2. The mean asynchrony did not show a significant group effect, F(3, 66) = 1.65, p = .19, ηp2 = .07, or a group-ratio interaction, F(7.98, 173.74) = 1.71, p = .10, ηp2 = .07, but we did find a small significant main effect of ratio, F(2.63, 173.74) = 8.17, p < .001, ηp2 = .11.

3. Amselle, J.-L., & M'bokolo, E. (2009). Au coeur de l'ethnie: Ethnies, tribalisme et état en Afrique [At the heart of ethnicity: Ethnic groups, tribalism and the state in Africa] (2nd ed.). Paris, France: La Découverte.

4. Astuti, R., & Bloch, M. (2010). Why a theory of human nature cannot be based on the distinction between universality and variability: Lessons from anthropology. Behavioral and Brain Sciences, 33, 83–84. DOI: 10.1017/S0140525X10000026

5. Barth, F. (1998). Ethnic groups and boundaries: The social organization of culture difference. Long Grove, IL: Waveland Press.

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