身体打击乐与音乐节拍的生物力学校准：节拍躯体外化假说。

文献信息

中文摘要

音乐节拍呈现出特定形式，即一种偏好速度和一小组稳定的细分，而现有解释并未完全阐明这些现象。我提出节拍躯体外化（SEM）假说：这些参数被校准至运动身体的振荡动力学，因此节拍继承了肢体的特征周期。该提议包含一项得到充分支持的因果主张，即身体和前庭状态塑造了模糊节奏被听成何种样子；一项核心机制主张，即节拍感知由效应器生物力学参数化；以及一项关于人造打击乐的推测性主张。身体打击乐是诊断性案例，其中效应器与乐器重合，提供了零偏移基线，用以测量乐器位移。我将机制主张重新表述为一个可测量量——生物力学透明性，它允许严格零假设，并提出八项可证伪预测。报告了两项与假说相悖的现有发现。

英文摘要

Musical meter takes specific forms, a preferred tempo and a small set of stable subdivisions, that existing accounts do not fully explain. I propose the Somatic Externalization of Meter (SEM) hypothesis: that these parameters are calibrated to the oscillatory dynamics of the moving body, so meter inherits the characteristic periods of the limbs. The proposal comprises a well-supported causal claim that bodily and vestibular state shape how an ambiguous rhythm is heard, a central mechanistic claim that beat perception is parameterized by effector biomechanics, and a conjectural claim about manufactured percussion. Body percussion is the diagnostic case, in which effector and instrument coincide, giving a zero-offset baseline against which instrumental displacement is measured. I recast the mechanistic claim as a measurable quantity, biomechanical transparency, which admits a strict null, and set out eight falsifiable predictions. Two existing findings run against the hypothesis and are reported.