Sound and Action in Music Performance

Table of Contents

1. Setting the Stage 2. Do We Need Auditory Feedback? If Not, Why Not?  3. Binding Perception and Action in Time 4. Binding Planned Actions to Their Consequences 5. Timing Versus Sequencing in Music 6. Effects of Musical Training 7. Use of Sound in Speech Versus Music 8. Auditory Feedback and Higher Cognitive Functions 9. Coordinating With Others

Authors

Peter Q. Pfordresher Department of Psychology, SUNY at Buffalo, Buffalo, NY, USA. 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.