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Despite the ubiquity of dancing and synchronized movement to music, relatively few studies have examined cognitive representations of musical rhythm and meter among listeners from contrasting cultures. We aimed to disentangle the contributions of culture-general and culture-specific influences by examining American and Turkish listeners' detection of temporal disruptions (varying in size from 50-250 ms in duration) to three types of stimuli: simple rhythms found in both American and Turkish music, complex rhythms found only in Turkish music, and highly complex rhythms that are rare in all cultures. Americans were most accurate when detecting disruptions to the simple rhythm. However, they performed less accurately but comparably in both the complex and highly complex conditions. By contrast, Turkish participants performed accurately and indistinguishably in both simple and complex conditions. However, they performed less accurately in the unfamiliar, highly complex condition. Together, these experiments implicate a crucial role of culture-specific listening experience and acquired musical knowledge in rhythmic pattern perception. (Contains 4 figures and 1 footnote.)

Infants prefer native structures such as familiar faces and languages. Music is a universal human activity containing structures that vary cross-culturally. For example, Western music has temporally regular metric structures, whereas music of the Balkans (e.g., Bulgaria, Macedonia, Turkey) can have both regular and irregular structures. We presented 4- to 8-month-old American and Turkish infants with contrasting melodies to determine whether cultural background would influence their preferences for musical meter. In Experiment 1, American infants preferred Western over Balkan meter, whereas Turkish infants, who were familiar with both Western and Balkan meters, exhibited no preference. Experiments 2 and 3 presented infants with either a Western or Balkan meter paired with an arbitrary rhythm with complex ratios not common to any musical culture. Both Turkish and American infants preferred Western and Balkan meter to an arbitrary meter. Infants' musical preferences appear to be driven by culture-specific experience and a culture-general preference for simplicity. (Contains 2 figures and 1 footnote.)

Sensitivity to auditory rhythmic structures in music and language is evident as early as infancy, but performance on beat perception tasks is often well below adult levels and improves gradually with age. While some research has suggested the ability to perceive musical beat develops early, even in infancy, it remains unclear whether adult-like perception of musical beat is present in children. The capacity to sustain an internal sense of the beat is critical for various rhythmic musical behaviors, yet very little is known about the development of this ability. In this study, 223 participants ranging in age from 4 to 23 years from the Las Vegas, Nevada, community completed a musical beat discrimination task, during which they first listened to a strongly metrical musical excerpt and then attempted to sustain their perception of the musical beat while listening to a repeated, beat-ambiguous rhythm for up to 14.4 s. They then indicated whether a drum probe matched or did not match the beat. Results suggested that the ability to identify the matching probe improved throughout middle childhood (8–9 years) and did not reach adult-like levels until adolescence (12–14 years). Furthermore, scores on the beat perception task were positively related to phonological processing, after accounting for age, short-term memory, and music and dance training. This study lends further support to the notion that children's capacity for beat perception is not fully developed until adolescence and suggests we should reconsider assumptions of musical beat mastery by infants and young children. Public Significance Statement: This study suggests that the ability to perceive and feel the beat in music develops during middle childhood and continues to improve through adolescence. These findings contrast with prior work claiming that this capacity is achieved by infancy or young childhood and suggest that important aspects of musical beat skills develop quite slowly and are not adult-like until adolescence. We also report that this ability is related to developing language skills. [ABSTRACT FROM AUTHOR]