Bruno H. Repp

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Sensorimotor synchronization (SMS), the rhythmic coordination of perception and action, occurs in many contexts, but most conspicuously in music performance and dance. In the laboratory, it is most often studied in the form of finger tapping to a sequence of auditory stimuli. This review summarizes theories and empirical findings obtained with the tapping(More)
  • B H Repp
  • The Journal of the Acoustical Society of America
  • 1992
This study attempts to characterize the temporal commonalities and differences among distinguished pianists' interpretations of a well-known piece, Robert Schumann's "Träumerei." Intertone onset intervals (IOIs) were measured in 28 recorded performances. These data were subjected to a variety of statistical analyses, including principal components analysis(More)
Evidence that audition dominates vision in temporal processing has come from perceptual judgment tasks. This study shows that this auditory dominance extends to the largely subconscious processes involved in sensorimotor coordination. Participants tapped their finger in synchrony with auditory and visual sequences containing an event onset shift (EOS),(More)
People often move in synchrony with auditory rhythms (e.g., music), whereas synchronization of movement with purely visual rhythms is rare. In two experiments, this apparent attraction of movement to auditory rhythms was investigated by requiring participants to tap their index finger in synchrony with an isochronous auditory (tone) or visual (flashing(More)
  • B H Repp
  • Journal of experimental psychology. Human…
  • 2001
Recent studies of synchronized finger tapping have shown that perceptually subliminal phase shifts in an auditory sequence are rapidly compensated for in the motor activity (B. H. Repp, 2000a). Experiment 1 used a continuation-tapping task to confirm that this compensation is indeed a phase correction, not an adjustment of the central timekeeper period.(More)
This article reviews a variety of experimental findings, most of them obtained in the last few years, that show that the perception of phonetic distinctions relies on a multiplicity of acoustic cues and is sensi tive to the surrounding context in very specific ways. Nearly all of these effects have correspondences in speech production, and they are readily(More)
It is sometimes assumed that limits of temporal discrimination established in psychophysical tasks constrain the timing information available for the control of action. Results from the five perceptual-motor synchronization experiments presented here argue against this assumption. Experiment 1 demonstrates that subliminal (0.8-2%) local changes in interval(More)
In synchronizing finger taps with an auditory sequence, a small sudden tempo ("step") change in the sequence tends to be followed by rapid adaptation of the tapping period but slow adaptation of the relative phase of the taps, whereas a larger step change leads to initial period overshoot followed by rapid adaptation of both period and phase [M.H. Thaut,(More)
The effect of a preceding fricative on the perceived place of stop consonant articulation was investigated in a series of experiments. In experiment 1, we preceded synthetic syllables from two [tV]--[kV] continua with fricative noises appropriate to [integral of] or [s] and showed that more velar stops are perceived in the context of [s]. Experiment 1 also(More)
  • B H Repp
  • The Journal of the Acoustical Society of America
  • 1987
Clapping is a little-studied human activity that may be viewed either as a form of communicative group behavior (applause) or as an individual sound-generating activity involving two "articulators"--the hands. The latter aspect was explored in this pilot study by means of acoustical analyses and perceptual experiments. Principal components analysis of 20(More)