Operational Definitions of Relevant Terms in Discussing Interpersonal Musical Entrainment, as Employed in This Paper
| Term . | Operational definition . |
|---|---|
| Interonset Interval (IOI) | Duration between the attack points of two successive auditory events |
| Rhythm | A sequence of auditory event durations or inter-onset intervals |
| Beat | A regular/repeated pulse that is abstracted from (and not necessarily perceptually present in) the rhythmical surface. Multiple beat levels combine to form a meter. Typically in the IOI range 250-2000 ms. |
| Subdivision | A fast regular/repeated pulse that is abstracted from the rhythmical surface, which subdivides the slower “beat.” Typically in the IOI range 100-250 ms. |
| Meter | A hierarchical structure, comprising two or more levels, into which beats and beat subdivisions are organized |
| (Metrical) cycle | A periodically repeating pattern comprising a hierarchical arrangement of beats on more than one level. Actual musical events or rhythmic patterns do not need to repeat periodically for a periodic metrical cycle to be inferred, although they may do so. |
| Metrical position | Location within the metrical hierarchy, i.e. beat or subdivision number. |
| Tactus | The beat level which is most comfortable to tap along to. Typically in the IOI range 350-700 ms. |
| Tempo | The perceived speed of the music, usually calculated as the frequency of the tactus (beats per minute). |
| Event density | The number of musical events (e.g., note onsets) occurring per unit of time. |
| Entrainment | The interaction of autonomous rhythmic (oscillatory) processes, often resulting in their synchronization. |
| Sensorimotor synchronization (SMS) | “[T]he rhythmic coordination of perception and action” (Repp, 2005). In a musical context, the process by which musicians use sensory input in order to synchronize with co-performers. |
| Coordination | Coordination can mean any process enabling medium and long-term musical processes (roughly > 2 s) to be or remain temporally aligned. This can include the cueing of transitions and the use of mutual attention and coordinated body movement to manage changes or reaffirm a shared understanding of the musical structure. |
| Non-isochrony | A regular pattern of unequal time intervals (usually at beat or subdivision levels). |
| Term . | Operational definition . |
|---|---|
| Interonset Interval (IOI) | Duration between the attack points of two successive auditory events |
| Rhythm | A sequence of auditory event durations or inter-onset intervals |
| Beat | A regular/repeated pulse that is abstracted from (and not necessarily perceptually present in) the rhythmical surface. Multiple beat levels combine to form a meter. Typically in the IOI range 250-2000 ms. |
| Subdivision | A fast regular/repeated pulse that is abstracted from the rhythmical surface, which subdivides the slower “beat.” Typically in the IOI range 100-250 ms. |
| Meter | A hierarchical structure, comprising two or more levels, into which beats and beat subdivisions are organized |
| (Metrical) cycle | A periodically repeating pattern comprising a hierarchical arrangement of beats on more than one level. Actual musical events or rhythmic patterns do not need to repeat periodically for a periodic metrical cycle to be inferred, although they may do so. |
| Metrical position | Location within the metrical hierarchy, i.e. beat or subdivision number. |
| Tactus | The beat level which is most comfortable to tap along to. Typically in the IOI range 350-700 ms. |
| Tempo | The perceived speed of the music, usually calculated as the frequency of the tactus (beats per minute). |
| Event density | The number of musical events (e.g., note onsets) occurring per unit of time. |
| Entrainment | The interaction of autonomous rhythmic (oscillatory) processes, often resulting in their synchronization. |
| Sensorimotor synchronization (SMS) | “[T]he rhythmic coordination of perception and action” (Repp, 2005). In a musical context, the process by which musicians use sensory input in order to synchronize with co-performers. |
| Coordination | Coordination can mean any process enabling medium and long-term musical processes (roughly > 2 s) to be or remain temporally aligned. This can include the cueing of transitions and the use of mutual attention and coordinated body movement to manage changes or reaffirm a shared understanding of the musical structure. |
| Non-isochrony | A regular pattern of unequal time intervals (usually at beat or subdivision levels). |