![]() This indicates that beat-deafness could present a new form of a congenital or acquired disorder related to time and not to pitch. Interestingly, the beat-deaf individual had an impairment only in beat processing without any impairment of pitch processing (Phillips-Silver et al., 2011). They defined the individual as beat-deaf by showing that his perceptual discrimination of meter (duple or triple) in piano patterns was poor compared with a normal population as well as showing that his bouncing and tapping movements were not phase-locked with a musical beat (Phillips-Silver et al., 2011). ![]() ( 2011) reported a case of beat-deafness. Anecdotally, however, while some individuals are indeed very good at tapping, clapping, or dancing with a beat, others appear to have “no sense of rhythm” and cannot detect or synchronize with the beat of a musical rhythm and might be referred to as “beat-deaf.” In this paper, we describe a test that might reveal such individual differences in beat-processing ability using a series of subtests assessing beat perception and production. The ability to perceive, produce, and synchronize with the beat is thought to be widespread across individuals (Grahn and Shuit, 2012). ![]() The beat acts as a catalyst in stimulating spontaneous timely movements such as tapping our feet or nodding our heads (Chen et al., 2006). For example, duple meter refers to a pattern of alternating strong (S) and weak (w) beats (SwSwSw…), whereas a triple meter refers to a pattern of a strong beat followed by two weak beats (SwwSwwSww…) (Ellis and Jones, 2009). Meter refers to the temporal organization of beats, in which some beats are perceived as more salient than others (Cooper and Meyer, 1960 Lerdahl and Jackendoff, 1983 Large, 2008 Grahn, 2012). One of the definitions of rhythm is the pattern of time intervals in a stimulus sequence, and beat/pulse refers to a series of regularly recurring psychological events that arise in response to the musical rhythm (Cooper and Meyer, 1960 Large, 2008 Grahn, 2012). H-BAT can be a useful tool in determining an individual's ability to perceive and produce a beat within a single session. The degree of synchronization consistency was negatively correlated with thresholds in the BST, BIT, and BFIT: a lower degree of synchronization was associated with higher perception and production thresholds. There was a wide distribution in individual abilities to tap in synchrony with the beat of music during the MTT. We administered the H-BAT on thirty individuals and investigated the performance distribution across these individuals in each subtest. MTT measures the degree of tapping synchronization with the beat of music, whereas BST, BIT, and BFIT measure perception and production thresholds via psychophysical adaptive stair-case methods. ![]() H-BAT consists of four subtests: (1) music tapping test (MTT), (2) beat saliency test (BST), (3) beat interval test (BIT), and (4) beat finding and interval test (BFIT). To investigate these abilities and to determine if a dissociation between beat perception and production exists, we developed the Harvard Beat Assessment Test (H-BAT), a new battery that assesses beat perception and production abilities. Humans have the abilities to perceive, produce, and synchronize with a musical beat, yet there are widespread individual differences.
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