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Definitions of syncopation share two characteristics: the presence of a meter or analogous hierarchical rhythmic structure and a displacement or contradiction of that structure. These attributes are translated in terms of a Bayesian theory of syncopation, where the syncopation of a rhythm is inferred based on a hierarchical structure that is, in turn, learned from the ongoing musical stimulus. Several experiments tested its simplest possible implementation, with equally weighted priors associated with different meters and independence of auditory events, which can be decomposed into two terms representing note density and deviation from a metric hierarchy. A computational simulation demonstrated that extant measures of syncopation fall into two distinct factors analogous to the terms in the simple Bayesian model. Next, a series of behavioral experiments found that perceived syncopation is significantly related to both terms, offering support for the general Bayesian construction of syncopation. However, we also found that the prior expectations associated with different metric structures are not equal across meters and that there is an interaction between density and hierarchical deviation, implying that auditory events are not independent from each other. Together, these findings provide evidence that syncopation is a manifestation of a form of temporal expectation that can be directly represented in Bayesian terms and offer a complementary, feature‐driven approach to recent Bayesian models of temporal prediction. [ABSTRACT FROM AUTHOR]

Planning forest management relies on predicting insect outbreaks such as mountain pine beetle, particularly in the intermediate‐term future, e.g., 5‐year. Machine‐learning algorithms are potential solutions to this challenging problem due to their many successes across a variety of prediction tasks. However, there are many subtle challenges in applying them: identifying the best learning models and the best subset of available covariates (including time lags) and properly evaluating the models to avoid misleading performance‐measures. We systematically address these issues in predicting the chance of a mountain pine beetle outbreak in the Cypress Hills area and seek models with the best performance at predicting future 1‐, 3‐, 5‐ and 7‐year infestations. We train nine machine‐learning models, including two generalized boosted regression trees (GBM) that predict future 1‐ and 3‐year infestations with 92% and 88% AUC, and two novel mixed models that predict future 5‐ and 7‐year infestations with 86% and 84% AUC, respectively. We also consider forming the train and test datasets by splitting the original dataset randomly rather than using the appropriate year‐based approach and show that this may obtain models that score high on the test dataset but low in practice, resulting in inaccurate performance evaluations. For example, a k‐nearest neighbor model with the actual performance of 68% AUC, scores the misleadingly high 78% on a test dataset obtained from a random split, but the more accurate 66% on a year‐based split. We then investigate how the prediction accuracy varies with respect to the provided history length of the covariates and find that neural network and naive Bayes, predict more accurately as history‐length increases, particularly for future 1‐ and 3‐year predictions, and roughly the same holds with GBM. Our approach is applicable to other invasive species. The resulting predictors can be used in planning forest and pest management and planning sampling locations in field studies. [ABSTRACT FROM AUTHOR]

The present study aimed to investigate whether or not the evaluative processing of action feedback can be modulated by temporal prediction. For this purpose, we examined the effects of the predictability of the timing of action feedback on an ERP effect that indexed the evaluative processing of action feedback, that is, an ERP effect that has been interpreted as a feedback-related negativity (FRN) elicited by 'bad' action feedback or a reward positivity (RewP) elicited by 'good' action feedback. In two types of experimental blocks, the participants performed a gambling task in which they chose one of two cards and received an action feedback that indicated monetary gain or loss. In fixed blocks, the time interval between the participant's choice and the onset of the action feedback was fixed at 0, 500, or 1,000 ms in separate blocks; thus, the timing of action feedback was predictable. In mixed blocks, the time interval was randomly chosen from the same three intervals with equal probability; thus, the timing was less predictable. The results showed that the FRN/RewP was smaller in mixed than fixed blocks for the 0-ms interval trial, whereas there was no difference between the two block types for the 500-ms and 1,000-ms interval trials. Interestingly, the smaller FRN/RewP was due to the modulation of gain ERPs rather than loss ERPs. These results suggest that temporal prediction can modulate the evaluative processing of action feedback, and particularly good feedback, such as that which indicates monetary gain. [ABSTRACT FROM AUTHOR]

This paper examines the role of mental imagery in music performance. Self-reports by musicians, and various other sources of anecdotal evidence, suggest that covert auditory, motor, and/or visual imagery facilitate multiple aspects of music performance. The cognitive and motor mechanisms that underlie such imagery include working memory, action simulation, and internal models. Together these mechanisms support the generation of anticipatory images that enable thorough action planning and movement execution that is characterized by efficiency, temporal precision, and biomechanical economy. In ensemble performance, anticipatory imagery may facilitate interpersonal coordination by enhancing online predictions about others' action timing. Overlap in brain regions subserving auditory imagery and temporal prediction is consistent with this view. It is concluded that individual differences in anticipatory imagery may be a source of variation in expressive performance excellence and the quality of ensemble cohesion. Engaging in effortful musical imagery is therefore justified when artistic perfection is the goal. [ABSTRACT FROM AUTHOR]