Krampe R T, Kliegl R, Mayr U, Engbert R, Vorberg D
Department of Psychology, University of Potsdam, Germany.
J Exp Psychol Hum Percept Perform. 2000 Feb;26(1):206-33. doi: 10.1037//0096-1523.26.1.206.
Professional pianists performed 2 bimanual rhythms at a wide range of different tempos. The polyrhythmic task required the combination of 2 isochronous sequences (3 against 4) between the hands; in the syncopated rhythm task successive keystrokes formed intervals of identical (isochronous) durations. At slower tempos, pianists relied on integrated timing control merging successive intervals between the hands into a common reference frame. A timer-motor model is proposed based on the concepts of rate fluctuation and the distinction between target specification and timekeeper execution processes as a quantitative account of performance at slow tempos. At rapid rates expert pianists used hand-independent, parallel timing control. In alternative to a model based on a single central clock, findings support a model of flexible control structures with multiple timekeepers that can work in parallel to accommodate specific task constraints.
专业钢琴家以广泛的不同节奏演奏两种双手节奏。复节奏任务要求双手之间组合两个等时序列（3对4）；在切分节奏任务中，连续的按键形成相同（等时）时长的间隔。在较慢节奏下，钢琴家依靠整合的计时控制，将双手之间连续的间隔合并到一个共同的参考框架中。基于速率波动的概念以及目标设定与计时执行过程之间的区别，提出了一个定时器-运动模型，作为对慢节奏下表现的定量描述。在快速节奏下，专业钢琴家使用与手无关的并行计时控制。与基于单个中央时钟的模型不同，研究结果支持一个具有多个计时装置的灵活控制结构模型，这些计时装置可以并行工作以适应特定的任务限制。
