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Ensemble musicians coordinate their actions with remarkable precision. The ensemble cohesion that results is predicated upon group members sharing a common goal; a unified concept of the ideal sound. The current chapter reviews research addressing three cognitive processes that enable individuals to realize such shared goals while engaged in musical joint(More)
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)
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)
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)
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)
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)
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)