Sound and Action in Music addresses how auditory feedback influences the planning and execution of our movements. Focusing specifically on auditory feedback in music, the book also gives substantial coverage to its role in speech. Both of these behaviors are the primary means by which people communicate their thoughts and feelings through the auditory modality, and auditory feedback is critical in each case. Sound and Action in Music proposes that the role of auditory feedback emerges from the broader theme of coordination, as our brain coordinates planned actions with concurrent perceptual events, including auditory feedback as well as other possibly intrusive sounds.
Critically reviewing the existing literature and proposing hypotheses for future research, Sound and Action in Music tackles a topic that has intrigued researchers for decades.
- Covers extensively the role of feedback in event sequencing
- Details how motor systems influence use of auditory feedback
- Tackles neural mechanisms for feedback processing
- Characterizes hierarchical representations and synchronization
- Addresses perception/action associations and the role of internal models of production
- Includes comparison in how visual feedback influences performance
2. A Theory of Action/Sound Interaction
3. Binding Perception and Action in Time
4. Binding Perception and Action in Content
5. Effects of Musical Training
6. Comparisons Between Music and Speech
7. Awareness and Executive Control
8. Coordinating with Others
9. Conclusion and Future Directions
Peter Pfordresher's primary training has been in experimental psychology. His many years as a practicing musician provided the basis for his research interest in the cognitive bases of musical communication as it occurs during performance. He is currently a professor in the Department of Psychology at SUNY Buffalo, and was previously a faculty member at the University of Texas (San Antonio). The main question motivating his research concerns the way in which people retrieve complex event sequences in real time, whether in the course of perceiving or producing these sequences. A major recent area, currently funded by the National Science Foundation, concerns sensorimotor mechanisms in the vocal imitation of pitch patterns, including singing. Dr. Pfordresher currently serves as associated editor for the journals Music Perception and Psychological Research, and as a consulting editor for Attention, Perception & Psychophysics.