Tapping in Time with Mechanically and Expressively Performed Music

By C. Drake, A. Penel, E. Bigand. 2000

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How researchers see this paper

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Automatic Extraction of Tempo and Beat From Expressive Performances (2001, background): “It has been shown that even with no musical training, a human listener can tap in time with music (Drake et al., 2000).”
Embodied Meter: Hierarchical Eigenmodes in Music-Induced Movement (2010, background): “While there exists a few studies on synchronization with a musical beat (Drake et al., 2000; Large et al., 2002; Repp, 2005a, 2005b; Snyder & Krumhansl, 2001; Toiviainen & Snyder, 2003), the kinematic aspects of this activity have been investigated to a lesser extent.”
When the brain plays music: auditory–motor interactions in music perception and production (2007, background): “), and is a natural behaviour even in people with no musical trainin”
Interactions between auditory and dorsal premotor cortex during synchronization to musical rhythms (2006, background): “The ability to synchronize body movements to both familiar and novel music often occurs spontaneously and intuitively, even for those with no musical training (Drake et al., 2000; Large et al., 2002; Snyder and Krumhansl, 2001).”
Tapping to Ragtime: Cues to Pulse Finding (2001, background): “The latter issue deserves particular attention (as in Drake et al., 2000) because one of the fundamental accomplishments of synchronizing systems is their ability to accommodate temporal noise, tempo change, and expressive timing.2”