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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)
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)
The basal ganglia (BG) are part of extensive subcortico-cortical circuits that are involved in a variety of motor and non-motor cognitive functions. Accumulating evidence suggests that one specific function that engages the BG and associated cortico-striato-thalamo-cortical circuitry is temporal processing, i.e., the mechanisms that underlie the encoding,(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)
When people play music and dance together, they engage in forms of musical joint action that are often characterized by a shared sense of rhythmic timing and affective state (i.e., temporal and affective entrainment). In order to understand the origins of musical joint action, we propose a model in which entrainment is linked to dual mechanisms (motor(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)
Groove is often described as a musical quality that can induce movement in a listener. This study examines the effects of listening to groove music on corticospinal excitability. Musicians and non-musicians listened to high-groove music, low-groove music, and spectrally matched noise, while receiving single-pulse transcranial magnetic stimulation (TMS) over(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)
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)