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Just noticeable difference thresholds of asynchrony and non-isochrony in a Multi-Instrumental groove-based context.

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Title: Just noticeable difference thresholds of asynchrony and non-isochrony in a Multi-Instrumental groove-based context.
Authors: Câmara, Guilherme Schmidt1,2 (AUTHOR) g.s.camara@imv.uio.no, Spiech, Connor3 (AUTHOR), Solli, Sandra1,4 (AUTHOR), Bang, Birger1,4 (AUTHOR), Rogulina, Olga1,4 (AUTHOR), Laeng, Bruno1,4 (AUTHOR), Danielsen, Anne1,2 (AUTHOR)
Source: Journal of the Acoustical Society of America. May2026, Vol. 159 Issue 5, p4668-4688. 21p.
Subjects: Threshold (Perception), Pupillometry, Tempo (Music theory), Music education, Musical performance, Rhythm
Abstract: Musicians convey timing "feels" in groove-based performance by manipulating onset asynchrony between instruments and the durational ratio of metrical subdivisions (non-isochrony, or "swing"). The present study tested whether listeners perceive such fine-grained timing deviations by measuring the just-noticeable difference (JND) thresholds of asynchrony and swing in a naturalistic funk pattern featuring Guitar, Bass, and Drums (Kick, Snare, Hi-hat). Sixty-four participants (32 musicians, 32 non-musicians) completed a 1IFC staircase task with uniform onset displacements (asynchrony: ±1–100 ms; swing: +1–71.5 ms). Pupillary responses, an index of attentional allocation and sensory conflict, were recorded throughout. Results show that: (1) JND thresholds of asynchrony and swing are higher in realistic, multi-instrumental groove-based contexts than in previously reported non-/quasi-musical contexts; (2) instrument type strongly modulates sensitivity with percussive instruments yielding the lowest thresholds and stringed instruments the highest; (3) listeners exhibit a bias whereby late displacements require larger magnitudes for detection, suggesting asymmetric temporal prediction in auditory timing; (4) musical training enhances sensitivity globally but especially benefits the perception of less salient instruments; and (5) pupil responses track the absolute magnitude of microrhythmic expression related to swing as well as asynchrony, providing a physiological index of salience scaling with microrhythmic displacement. [ABSTRACT FROM AUTHOR]
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Database: Engineering Source
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Abstract:Musicians convey timing "feels" in groove-based performance by manipulating onset asynchrony between instruments and the durational ratio of metrical subdivisions (non-isochrony, or "swing"). The present study tested whether listeners perceive such fine-grained timing deviations by measuring the just-noticeable difference (JND) thresholds of asynchrony and swing in a naturalistic funk pattern featuring Guitar, Bass, and Drums (Kick, Snare, Hi-hat). Sixty-four participants (32 musicians, 32 non-musicians) completed a 1IFC staircase task with uniform onset displacements (asynchrony: ±1–100 ms; swing: +1–71.5 ms). Pupillary responses, an index of attentional allocation and sensory conflict, were recorded throughout. Results show that: (1) JND thresholds of asynchrony and swing are higher in realistic, multi-instrumental groove-based contexts than in previously reported non-/quasi-musical contexts; (2) instrument type strongly modulates sensitivity with percussive instruments yielding the lowest thresholds and stringed instruments the highest; (3) listeners exhibit a bias whereby late displacements require larger magnitudes for detection, suggesting asymmetric temporal prediction in auditory timing; (4) musical training enhances sensitivity globally but especially benefits the perception of less salient instruments; and (5) pupil responses track the absolute magnitude of microrhythmic expression related to swing as well as asynchrony, providing a physiological index of salience scaling with microrhythmic displacement. [ABSTRACT FROM AUTHOR]
ISSN:00014966
DOI:10.1121/10.0043887