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Sound and Action in Music Performance addresses how auditory feedback influences the planning and execution of our movements. Focusing specifically on auditory feedback in music, including instrumental and vocal production, 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, with auditory feedback being critical in each case. The book 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 and other intrusive sounds.
Critically reviewing the existing literature and proposing hypotheses for future research, this book tackles a topic that has intrigued researchers for decades.
- Covers the role of feedback in event sequencing
- Details how motor systems influence the 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
- Discusses how learning influences the use of auditory feedback
- Considers the role of feedback in music and speech production deficits
Researchers in psychology, neuroscience, human factors, music theory, music education, and communication science. Also might be of interest to cognitive scientists
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
- No. of pages:
- © Academic Press 2019
- 21st January 2019
- Academic Press
- Paperback ISBN:
- eBook ISBN:
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.
Department of Psychology, SUNY at Buffalo, Buffalo, NY, USA
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