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<p>Current models of rhythm perception propose that humans track musical beats using the phase, period, and amplitude of sound patterns. However, a growing body of evidence suggests that pitch can also influence the perceived timing of auditory signals. In the present study, we conducted two experiments to investigate whether pitch affects the phase and period of sensorimotor synchronization. To do so, we asked participants to synchronize with a repeating tone, whose pitch on each trial was drawn from one of six different octaves (110–3520 Hz). In Experiment&#xa0;1, we observed U-shaped patterns in both mean asynchrony and continuation tapping rates, with participants tapping latest and slowest when synchronizing to low and extremely high (above 2000 Hz) pitches, and tapping earliest and fastest to moderately high pitches. In Experiment&#xa0;2, we found that extremely high pitches still produced slower timing than moderately high pitches when participants were exposed to an exclusively high-pitched context. Based on our results, we advocate for the incorporation of pitch into models of rhythm perception and discuss possible origins of these effects.</p>

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Pitch biases sensorimotor synchronization to auditory rhythms

  • 期刊论文

  • 出版模式：

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  • 发表日期：

    2025年5月16日

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  • Jesse K. Pazdera,
  • Laurel J. Trainor

摘要

Current models of rhythm perception propose that humans track musical beats using the phase, period, and amplitude of sound patterns. However, a growing body of evidence suggests that pitch can also influence the perceived timing of auditory signals. In the present study, we conducted two experiments to investigate whether pitch affects the phase and period of sensorimotor synchronization. To do so, we asked participants to synchronize with a repeating tone, whose pitch on each trial was drawn from one of six different octaves (110–3520 Hz). In Experiment 1, we observed U-shaped patterns in both mean asynchrony and continuation tapping rates, with participants tapping latest and slowest when synchronizing to low and extremely high (above 2000 Hz) pitches, and tapping earliest and fastest to moderately high pitches. In Experiment 2, we found that extremely high pitches still produced slower timing than moderately high pitches when participants were exposed to an exclusively high-pitched context. Based on our results, we advocate for the incorporation of pitch into models of rhythm perception and discuss possible origins of these effects.