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Music and Metronomes Differentially Impact Motor Timing in People with and without Parkinson's Disease: Effects of Slow, Medium, and Fast Tempi on Entrainment and Synchronization Performances in Finger Tapping, Toe Tapping, and Stepping on the Spot Tasks

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6721399/

(Music and metronomes offer different properties as auditory cues. Metronomes are repetitive regular nonmusical sound events experienced as a continuous stream . However, they are not memorable, even by trained musicians . In contrast, the underlying beat of music is memorable)


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Interesting but nothing is new. I had two teachers in my life, with both of my teachers we use the metronome to learn the rhythm and when I got it I turn off the metronome. Later I use the metronome to check if the triplet or the quintuplet still sounds like quintuplets. I also used the metronome when I learned the swing rhythm. I use it with the sound on beats 2 and 4 to accentuate the strong beat.



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Originally Posted by Serge88
Interesting but nothing is new.
?
I don't know if you get the idea: instead of basing on the clicks of the metronome, by based on the rhythmic flow of the music in a head, and not on the movements of hands and fingers.

Last edited by Nahum; 01/26/21 03:10 PM.
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I had a connection problem with Pianoworld but I'm back,

No Nahum, I don't really understand your explanation.

Last edited by Serge88; 01/26/21 03:47 PM.


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There's the scientific info the fellow found, and there is what he did with that info. The info is that when people follow an external beat, a different part of the brain lights up than when a person is relying on an internal beat. That may be useful and I'm already making use of it myself. But the conclusions by the gentleman are something different.

For myself: I have a decent internal beat. I never had occasion to follow anyone else's and didn't have or use a metronome. There was a point where my teacher wanted me to work with a metronome, which I recorded. I'd be milliseconds behind or in front, and I also couldn't hear whether I was - I had to learn to hear the stutter d-dap vs. one single "dap". I could count when playing, but if I was asked to follow the counts in someone else's playing, I was pretty weak. So the information that different parts of the brain are engaged for internal vs. external is especially interesting to me.

This gentleman makes the assumption of students or musicians always listening to an external source; either a metronome, or fellow musicians or maybe following a conductor (he doesn't mention conductors).
There is a lot we don't know. For example, when he teaches his students, does he teach them to count without a metronome - how does he teach counting - what kinds of habits have those students gotten into due to however they have been taught up to then? Therefore what might he be balancing out at this point?

When I did violin, the emphasis was on technique: on physical things, because it is a technically challenging instrument. I see that his teaching videos are technique-oriented, which makes sense for that kind of instrument. And you definitely can't count out loud "one and two an'a three" while blowing into an instrument, like one does with piano - which, further, has several different rhythms going on.

If he is countering the results of too much listening to external sources, this all makes sense. I guess his cutting the external source on and off is an attempt to engage those two components. What I've seen is where a musician turns on the metronome, listens to the tempo, turns off the metronome, plays for a while, turns it on again to see if he still has the same tempo. This is more about speeding up, though.

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Originally Posted by Serge88
I had a connection problem with Pianoworld but I'm back,

No Nahum, I don't really understand your explanation.

Glenn Gould told the following story: during his piano practice, a cleaning lady came into the room with a noisy vacuum cleaner. GG continued to play; but instead of trying to hear the instrument, he turned to what sounded inside him. According to him, the musical result was noticeably better, which imo applied to both phrasing and rhythm.
Did this answer the question?

Last edited by Nahum; 01/27/21 02:40 AM.
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Well one of us got a response. Of sorts.

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Originally Posted by keystring
Well one of us got a response. Of sorts.


There are a large number of posts here that do not get a reply—- doesn’t mean they aren’t read. It’s just the world of the internet.


"Music, rich, full of feeling, not soulless, is like a crystal on which the sun falls and brings forth from it a whole rainbow" - F. Chopin
"I never dreamt with my own two hands I could touch the sky" - Sappho

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I was not asking about the many posts here. I was addressing Nahum, who I think wanted feedback about these ideas, but then only responded to one person so far. Or Serge. (anyone else too for that matter) It was about this topic, not the others.


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