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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,(More)
This article addresses the learnability of auditory icons, that is, environmental sounds that refer either directly or indirectly to meaningful events. Direct relations use the sound made by the target event whereas indirect relations substitute a surrogate for the target. Across 3 experiments, different indirect relations (ecological, in which target and(More)
Synchronizing movements with auditory beats, compared to visual flashes, yields divergent activation in timing-related brain areas as well as more stable tapping synchronization. The differences in timing-related brain activation could reflect differences in tapping synchronization stability, rather than differences between modality (i.e., audio-motor vs.(More)
Ensemble musicians play in synchrony despite expressively motivated irregularities in timing. We hypothesized that synchrony is achieved by each performer internally simulating the concurrent actions of other ensemble members, relying initially on how they would perform in their stead. Hence, musicians should be better at synchronizing with recordings of(More)
Adaptation to tempo changes in sensorimotor synchronization is hypothesized to rest on two processes, one (phase correction) being largely automatic and the other (period correction) requiring conscious awareness and attention. In this study, participants tapped their finger in synchrony with auditory sequences containing a tempo change and continued(More)
The hypothesis that planning music-like sequential actions involves anticipating their auditory effects was investigated in a series of experiments. Participants with varying levels of musical experience responded to each of four colour-patch stimuli by producing a unique sequence of three taps on three vertically aligned keys. Each tap triggered a tone in(More)
It is well known that stimuli such as numerals (small vs large) and auditory pitches (low vs high) have spatial characteristics, and that responses to such stimuli are biased by the mental representation of their magnitude. Walsh (2003) has argued that any spatially and action-coded magnitude will yield a relationship between magnitude and space. Here we(More)
Most studies of human sensorimotor synchronization require participants to coordinate actions with computer-controlled event sequences that are unresponsive to their behavior. In the present research, the computer was programmed to carry out phase and/or period correction in response to asynchronies between taps and tones, and thereby to modulate adaptively(More)
Musical ensemble performance requires precise coordination of action. To play in synchrony, ensemble musicians presumably anticipate the sounds that will be produced by their co-performers. These predictions may be based on auditory images in working memory. This study examined the contribution of auditory imagery abilities to sensorimotor synchronization(More)
A constantly changing environment requires precise yet flexible timing of movements. Sensorimotor synchronization (SMS)-the temporal coordination of an action with events in a predictable external rhythm-is a fundamental human skill that contributes to optimal sensory-motor control in daily life. A large body of research related to SMS has focused on(More)