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Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition.

Miura A, Fujii S, Okano M, Kudo K, Nakazawa K - Front Psychol (2016)

Bottom Line: However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz).This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception.These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

View Article: PubMed Central - PubMed

Affiliation: Faculty of Sport Sciences, Waseda University Tokorozawa, Japan.

ABSTRACT
The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz). Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

No MeSH data available.


Related in: MedlinePlus

Two patterns in the finger-to-beat coordination task: flex-on-the-beat pattern (A) and extend-on-the-beat pattern (B).
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Figure 1: Two patterns in the finger-to-beat coordination task: flex-on-the-beat pattern (A) and extend-on-the-beat pattern (B).

Mentions: The participants flexed their right elbow joint to 90° in a standing posture. The right forearm rested on a horizontal platform. The right wrist joint was fixed to the platform with a tape to prevent any wrist joint movement. The participants extended their right index finger while the remaining fingers were curled into a fist with their thumb inside. There were two patterns in the finger-to-beat coordination task: flex-on-the-beat and extend-on-the-beat. During the flex-on-the-beat pattern, the individual flexed their finger on the beat. During the extend-on-the-beat pattern, the individual extended their finger on the beat (Figure 1). The range of motion was not specified. The beat rate increased from 1.0 to 3.7 Hz, with a step of 0.33 Hz (i.e., 1.0, 1.3, 1.7, 2.0, 2.3, 2.7, 3.0, 3.3, and 3.7 Hz). There were nine beat rates in total; the beat rate is shown to the first decimal place by rounding the second decimal place. Each of the beat rate plateaus consisted of 16 beats (144 beats in total). After 144 beats, the metronome automatically stopped and the participants stopped the movement. A trial took 75 s and the data across the 144 beats were recorded. This beat rate manipulation was same as the Miura et al.’s (2013a) study.


Finger-to-Beat Coordination Skill of Non-dancers, Street Dancers, and the World Champion of a Street-Dance Competition.

Miura A, Fujii S, Okano M, Kudo K, Nakazawa K - Front Psychol (2016)

Two patterns in the finger-to-beat coordination task: flex-on-the-beat pattern (A) and extend-on-the-beat pattern (B).
© Copyright Policy
Related In: Results  -  Collection

License
Show All Figures
getmorefigures.php?uid=PMC4837302&req=5

Figure 1: Two patterns in the finger-to-beat coordination task: flex-on-the-beat pattern (A) and extend-on-the-beat pattern (B).
Mentions: The participants flexed their right elbow joint to 90° in a standing posture. The right forearm rested on a horizontal platform. The right wrist joint was fixed to the platform with a tape to prevent any wrist joint movement. The participants extended their right index finger while the remaining fingers were curled into a fist with their thumb inside. There were two patterns in the finger-to-beat coordination task: flex-on-the-beat and extend-on-the-beat. During the flex-on-the-beat pattern, the individual flexed their finger on the beat. During the extend-on-the-beat pattern, the individual extended their finger on the beat (Figure 1). The range of motion was not specified. The beat rate increased from 1.0 to 3.7 Hz, with a step of 0.33 Hz (i.e., 1.0, 1.3, 1.7, 2.0, 2.3, 2.7, 3.0, 3.3, and 3.7 Hz). There were nine beat rates in total; the beat rate is shown to the first decimal place by rounding the second decimal place. Each of the beat rate plateaus consisted of 16 beats (144 beats in total). After 144 beats, the metronome automatically stopped and the participants stopped the movement. A trial took 75 s and the data across the 144 beats were recorded. This beat rate manipulation was same as the Miura et al.’s (2013a) study.

Bottom Line: However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz).This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception.These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

View Article: PubMed Central - PubMed

Affiliation: Faculty of Sport Sciences, Waseda University Tokorozawa, Japan.

ABSTRACT
The coordination of body movements to a musical beat is a common feature of many dance styles. However, the auditory-motor coordination skills of dancers remain largely uninvestigated. The purpose of this study was to examine the auditory-motor coordination skills of non-dancers, street dancers, and the winner of a celebrated international street dance competition, while coordinating their rhythmic finger movements to a beat. The beat rate of a metronome increased from 1.0 to 3.7 Hz. The participants were asked to either flex or extend their index fingers on the beat in each condition. Under the extend-on-the-beat condition, both the dancers and non-dancers showed a spontaneous transition from the extend-on-the-beat to the flex-on-the-beat or to a phase wandering pattern. However, the critical frequency at which the transition occurred was significantly higher in the dancers (3.3 Hz) than in the non-dancers (2.6 Hz). Under the flex-on-the-beat condition, the dancers were able to maintain their coordination pattern more stably at high beat rates compared to the non-dancers. Furthermore, the world champion matched the timing of movement peak velocity to the beat across the different beat rates. This may give a sense of unity between the movement and the beat for the audience because the peak velocity of the rhythmic movement works as a temporal cue for the audiovisual synchrony perception. These results suggest that the skills of accomplished dancers lie in their small finger movements and that the sensorimotor learning of street dance is characterized by a stabilization of the coordination patterns, including the inhibition of an unintentional transition to other coordination patterns.

No MeSH data available.


Related in: MedlinePlus