The more I learn, the better questions I can ask. Entrainment is matching up timing or rhythm. I just learned that word the other day, surprised it was missing from my vocabulary.
Now, I stuttered as a kid. I had speech therapy which helped.
I was also musical, I could play by ear whatever you put at me just about BUT I could only keep perfect tempo _if_ I was playing at my fastest rate of speed. Any slower speed and I would go faster and faster or slower faster slower and didn’t notice it. Subtle but
If I had a teacher RIGHT THERE trying to govern my speed, I’d go faster and closer but had trouble matching up. I could match up in a group but not solo unless I was at my maximum speed. Yet, most teachers didn’t notice my speeding up and slowing down, or they didn’t say anything.
So, is there a connection? Is it possible that despite musical ability in some ways (perfect pitch, ease at picking up new instruments), I am missing the ability to keep a steady rhythm?
I have a good sense of “clock”. Multiples of 30 are fine. 270 is my favorite with triplets (so 810 bpm 
) – but I think outside of multiples or fractions of my natural pace, maybe I don’t “got it” unless I have external
) – but I think outside of multiples or fractions of my natural pace, maybe I don’t “got it” unless I have external —
The more I learn, the better questions I can ask. Entrainment is matching up timing or rhythm. I just learned that word the other day, surprised it was missing from my vocabulary.
Now, I stuttered as a kid. I had speech therapy which helped.
I was also musical, I could play by ear whatever you put at me just about BUT I could only keep perfect tempo _if_ I was playing at my fastest rate of speed. Any slower speed and I would go faster and faster or slower faster slower and didn’t notice it.
Or maybe it wasn’t all as bad as I thought. Or worse. I’ll read this regardless.
Stuttering is a neurodevelopmental disorder that affects the timing and rhythmic flow of speech production. When speech is synchronized with an extern…
SCIENCEDIRECT.COM=-===
I could play +off+ of a rhythm. but sticking to a metronome drove me nuts.’—-‘
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The more I learn, the better questions I can ask. Entrainment is matching up timing or rhythm. I just learned that word the other day, surprised it was missing from my vocabulary.
Now, I stuttered as a kid. I had speech therapy which helped.
I was also musical, I could play by ear whatever you put at me just about BUT I could only keep perfect tempo _if_ I was playing at my fastest rate of speed. Any slower speed and I would go faster and faster or slower faster slower and didn’t notice it unless it was multiples of 30.
Now I keep a rhythm all of the time. Multiple metronomes going without any problem. SO I dunno. Maybe it’s all fixed now. I’ve had ‘click tracks’ going on my head for decades.
https://www.sciencedirect.com/science/article/abs/pii/S0093934X15000735
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Thoroughly enjoyed learning about entrainment and “dynamic attending theory” which brings entrainment down to the smallest and up to the largest rhythms.
Now to broaden knowledge of entrainment. I thought, “It should be sparse considering most of the time, there’s not much to latch on to — or rather there’s too much but the actual information wanted /needed is sparse”. So I look it up. There it is. So, reading onwards.
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Ternary meter brings about emergence. Definitely on the right track.
Interestingly, when participants performed the ternary meter imagery task, this led not only to the emergence of a steady-state EP at the frequency of the corresponding meter (f/3 = 0.8 Hz), but also at twice this frequency (1.6 Hz). The frequency of this additional steady-state EP corresponds to the frequency of the first upper harmonic of the meter frequency [i.e., 2 × (f/3) = 1.6 Hz] and could thus reflect the involuntary emergence of an additional metric level, here corresponding to a binary metric level spontaneously emerging alongside the voluntary ternary metric representation. This interpretation would suggest that the representation of multiple metric levels could be represented by such higher-order resonance products and would agree with the natural human bias for binary structures in timing perception and production (Essens, 1986; Brochard et al., 2003; Repp, 2005; Pablos Martin et al., 2007). Conversely, the frequency of this additional steady-state EP also corresponds to the frequency of the cross-modulation product between beat and meter frequencies [i.e., f − (f/3) = 1.6 Hz]. Several studies have shown that when two or more steady-state EPs are elicited simultaneously, cross-modulation products can appear due to the nonlinear convergence of the two oscillators (Regan, 1989; Sutoyo and Srinivasan, 2009). Hence, this additional steady-state EP could reflect an interaction between beat and meter processing in the human brain, in the form of a specific higher-order resonance product, or “integration frequency” (Regan, 1989; Sutoyo and Srinivasan, 2009).
https://www.jneurosci.org/content/31/28/10234
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Ooh ooh, nice. Two things jump out:
“Our present data confirmed that both maintaining a subjective meter as well as intentionally switching the subjective meter context while listening to identical metronome clicks result in significant modulation of spatiotemporal patterns of neural activities expressed as AERs. Note that these responses represent neural activity that is precisely phase-locked to the stimulus onset.”*
” our inner clock system may have the capacity to alternatingly maintain two meters in parallel and the related endogenous activities are captured here. Results from recent fMRI studies using finger tapping tasks corroborate this concept. “
* AER = auditory evoked responses
Does what holds true for waltz hold true for triplets such as expressed in continued arpeggios? Or are they just split up chords?
https://www.frontiersin.org/articles/10.3389/fpsyg.2014.01257/full
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Desperation .”I am relevant” Myths and fables never fail to draw attention.
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Gossip to speak in the specific. Could be both, neither, either.
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