{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,10,22]],"date-time":"2026-10-22T16:17:27Z","timestamp":1792685847423,"version":"4.5.0"},"reference-count":59,"publisher":"Frontiers Media SA","license":[{"start":{"date-parts":[[2026,9,9]],"date-time":"2026-09-09T00:00:00Z","timestamp":1788912000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":["frontiersin.org"],"crossmark-restriction":true},"short-container-title":["Front. Psychol."],"abstract":"<jats:p>\n                    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\n                    <jats:italic>Somatic Externalization of Meter<\/jats:italic>\n                    (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,\n                    <jats:italic>biomechanical transparency<\/jats:italic>\n                    , which admits a strict null, and set out eight falsifiable predictions. Two existing findings run against the hypothesis and are reported.\n                  <\/jats:p>","DOI":"10.3389\/fpsyg.2026.1905062","type":"journal-article","created":{"date-parts":[[2026,9,9]],"date-time":"2026-09-09T10:16:52Z","timestamp":1788949012000},"update-policy":"https:\/\/doi.org\/10.3389\/crossmark-policy","source":"Crossref","is-referenced-by-count":2,"title":["Body percussion and the biomechanical calibration of musical meter: the somatic externalization of meter hypothesis"],"prefix":"10.3389","volume":"17","author":[{"given":"Francisco Javier","family":"Romero-Naranjo","sequence":"first","affiliation":[{"name":"Department of Innovation and Educational Training, University of Alicante","place":["Alicante, Spain"]}],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"1965","published-online":{"date-parts":[[2026,9,9]]},"reference":[{"key":"ref1","doi-asserted-by":"publisher","first-page":"950","DOI":"10.47197\/retos.v46.94773","article-title":"Introducci\u00f3n al an\u00e1lisis cinem\u00e1tico de los movimientos b\u00e1sicos de la percusi\u00f3n corporal seg\u00fan el M\u00e9todo BAPNE [introduction to the kinematic analysis of the basic movements of body percussion according to the BAPNE method]","volume":"46","author":"Alonso-Marco","year":"2022","journal-title":"Retos"},{"key":"ref2","doi-asserted-by":"publisher","first-page":"1025","DOI":"10.47197\/retos.v51.101450","article-title":"Evoluci\u00f3n bibliom\u00e9trica de la percusi\u00f3n corporal: Impacto y g\u00e9nero en las publicaciones cient\u00edfico-acad\u00e9micas [Bibliometric evolution of body percussion: Impact and gender in scientific-academic publications]","volume":"51","author":"Arnau-Moll\u00e1","year":"2024","journal-title":"Retos"},{"key":"ref3","doi-asserted-by":"publisher","first-page":"2","DOI":"10.1038\/s44271-023-00053-6","article-title":"Auditory-motor synchronization and perception suggest partially distinct time scales in speech and music","volume":"2","author":"Barchet","year":"2024","journal-title":"Communications Psychol."},{"key":"ref4","doi-asserted-by":"publisher","first-page":"357","DOI":"10.1007\/s00371-011-0620-9","article-title":"Hybrid inverse motion control for virtual characters interacting with sound synthesis: application to percussion motion","volume":"28","author":"Bou\u00ebnard","year":"2012","journal-title":"Vis. 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