Auditive Einflussgrößen bei der zeitlichen Handlungsplanung im Klavierspiel: Analyse auditiv-sensomotorischer Kopplungen (English shop)

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At the end of the 1970s, models of so-called internal clocks (Schulze 1978) prevailed in research on musical psychomotor skills over the notion that trained musicians orient themselves largely by their hearing (Kristofferson 1977) when asked to play a constant tempo on their instrument or to tap a steady pulse with the hand. However, the various models of internal clocks were unable to explain a range of well-established phenomena of musical psychomotor behaviour: for instance, the influence of selective perception on the sensation of physically constant phenomena (Zakay 1996), the influence of unexpected acoustic feedback on a motorically causal action (Vos 1992, Finney 1997, Dahl 2001), or the difficulty of tracing various forms of expressive timing back to a steady basic tempo (Gottschewski 1993, Desain 1992, 1994, Langner 2002).

More recent interdisciplinary studies conclude that the cognitive foundations of the human sense of musical time are to be found rather in a dynamic concatenation (Wassenhove 2008)—variable in the short term through external influence (auditory feedback)—of neural discharges of equal or unequal length (neural networks) without a central timekeeper (Buonomano 2005, Karmarkar 2007, Singer 2007). The present study supports these most recent findings of cognitive research and neurology from the perspective of music psychology by demonstrating the influence of auditory feedback on musicians’ temporal expectations in piano playing for time intervals that are longer than the discharge durations of neural networks.

The MIDI-based piano experiment establishes that auditory feedback can significantly influence the temporal organisation of musical-motor actions and can be necessary for their success. This is the case, for example, when the sound expected 30 to 100 ms after the keystroke (Mäki-Patola 2005) is occasionally delayed by a further 50 to 120 ms and subsequent sounds are muted. At the same time, the study confirms findings on the so-called cortical integration (Müller 2000, Bangert 2001) of different senses, in that acoustic stimuli (delayed sound) lead to significant reactions on another sensory level, such as temporal motor behaviour (tempo errors) as well as the sense of position (pitch errors). Models with a central timekeeper are not compatible with the results of this experiment.