Auditory Feedback in Music Performance: Evidence for a Dissociation of Sequencing and Timing

Journal of Experimental Psychology: Human Perception and Performance

Volumn 29, Issue 5, 2003, Pages 949-964

  Pfordresher, Peter Q ^a  

^a UNIVERSITY OF TEXAS AT SAN ANTONIO   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

ADULT; ARTICLE; AUTOMATED PATTERN RECOGNITION; CLINICAL TRIAL; CONCEPT FORMATION; CONTROLLED CLINICAL TRIAL; CONTROLLED STUDY; FEEDBACK SYSTEM; HEARING; HUMAN; LEARNING; MIDDLE AGED; MUSIC; PERCEPTION DISORDER; PHYSIOLOGY; PSYCHOMOTOR PERFORMANCE; PSYCHOPHYSICS; TIME PERCEPTION;

ADULT; AUDITORY PERCEPTION; CONCEPT FORMATION; FEEDBACK; HUMANS; MIDDLE AGED; MUSIC; PATTERN RECOGNITION, AUTOMATED; PERCEPTUAL DISTORTION; PSYCHOACOUSTICS; PSYCHOMOTOR PERFORMANCE; SERIAL LEARNING; TIME PERCEPTION;

EID: 0242594014     PISSN: 00961523     EISSN: None     Source Type: Journal    
DOI: 10.1037/0096-1523.29.5.949     Document Type: Article

References (111)

1. Aschersleben, G., & Prinz, W. (1995). Synchronizing actions with events: The role of sensory information. Perception & Psychophysics, 57, 305-317.
2. Aschersleben, G., & Prinz, W. (1997). Delayed auditory feedback in synchronization. Journal of Motor Behavior, 29, 35-46.
3. Besson, M., & Schön, D. (2001). Comparison between language and music. In R. J. Zatorre & I. Peretz (Eds.), The biological foundations of music: Annals of the New York Academy of Sciences (Vol. 930, pp. 232-258). New York: New York Academy of Sciences.
4. Black, J. W. (1951). The effect of delayed side-tone upon vocal rate and intensity. Journal of Speech and Hearing Disorders, 16, 56-60.
5. Bock, K. (1995). Sentence production: From mind to mouth. In J. L. Milles & P. D. Eimas (Eds.), Speech, language, and communication: Handbook of perception and cognition (Vol. 11, 2nd ed., pp. 181-216). San Diego, CA: Academic Press.
6. Bock, K. (1999). Language production. In R. A. Wilson & F. C. Keil (Eds.), The MIT encyclopedia of the cognitive sciences (pp. 453-456). Cambridge, MA: MIT Press.
7. Brown, S. W., & Boltz, M. G. (2002). Attentional processes in time perception: Effects of mental workload and event structure. Journal of Experimental Psychology: Human Perception and Performance, 28, 600-615.
8. Chase, R. A. (1965). An information-flow model of the organization of motor activity: I. Transduction, transmission and central control of sensory information. Journal of Nervous and Mental Disease, 140, 239-251.
9. Chase, R. A., Harvey, S., Standfast, S., Rapin, I., & Sutton, S. (1961). Studies on sensory feedback: I. Effect of delayed auditory feedback on speech and keytapping. Quarterly Journal of Experimental Psychology, 13, 141-152.
10. Chase, W. G., & Simon, H. A. (1973). The mind's eye in chess. In W. G. Chase (Ed.), Visual information processing (pp. 215-281). New York: Academic Press.
11. Collard, R., & Povel, D. J. (1982), Theory of serial pattern production: Tree traversals. Psychological Review, 89, 693-707.
12. Cooper, G., & Meyer, L. B. (1960). The rhythmic structure of music. Chicago: University of Chicago Press.
13. Dell, G. S. (1986). A spreading-activation theory of retrieval in sentence production. Psychological Review, 93, 283-321.
14. Dell, G. S., Burger, L. K., & Svec, W. R. (1997). Language production and serial order: A functional analysis and a model. Psychological Review, 104, 123-147.
15. Drake, C. (1993). Perceptual and performed accents in musical sequences. Bulletin of the Psychonomic Society, 31, 107-110.
16. Drake, C. (1998). Psychological processes involved in the temporal organization of complex auditory sequences: Universal and acquired processes. Music Perception, 16, 11-26.
17. Drake, C., & Palmer, C. (1993). Accent structures in music performance. Music Perception, 10, 343-378.
18. Epstein, D. (1995). Shaping time: Music, the brain, and performance. New York: Schirmer.
19. Ericsson, K. A., & Kintsch, W. (1995). Long-term working memory. Psychological Review, 102, 211-245.
20. Fairbanks, G. (1954). Systematic research in experimental phonetics: 1. A theory of the speech mechanism as a servosystem. Journal of Speech and Hearing Disorders, 19, 133-139.
21. Fairbanks, G., & Guttman, N. (1958). Effects of delayed auditory feedback upon articulation. Journal of Speech and Hearing Research, 1, 333-346.
22. Finney, S. A. (1997). Auditory feedback and musical keyboard performance. Music Perception, 15, 153-174.
23. Finney, S. A. (2001). FTAP: A Linux-based program for tapping and music experiments. Behavior Research Methods, Instruments, & Computers, 33, 65-72.
24. Finney, S. A., & Palmer, C. (2003). Auditory feedback and memory for music performance: Sound evidence for an encoding effect. Memory & Cognition, 31, 51-64.
25. Finney, S. A., & Warren, W. H. (2002). Delayed auditory feedback and rhythmic tapping: Evidence for a critical interval shift. Perception & Psychophysics, 64, 896-908.
26. Fitts, P. M., & Posner, M. I. (1967). Human performance. Belmont, CA: Brooks/Cole.
27. Friberg, A., & Sundberg, J. (1995). Time discrimination in a monotonic, isochronous sequence. Journal of the Acoustical Society of America, 98, 2524-2530.
28. Fromkin, V. A. (Ed.). (1973). Speech errors as linguistic evidence. The Hague, the Netherlands: Mouton.
29. Gabrielsson, A. (1999). The performance of music. In D. Deutsch (Ed.), The psychology of music (pp. 501-602). San Diego, CA: Academic Press.
30. Garrett, M. F. (1980). Levels of processing in sentence production. In B. Butterworth (Ed.), Language production: Speech and talk (pp. 177-220). London: Academic Press.
31. Gates, A., & Bradshaw, J. L. (1974). Effects of auditory feedback on a musical performance task. Perception & Psychophysics, 16, 105-109.
32. Gates, A., Bradshaw, J., & Nettleton, N. (1974). Effect of different delayed auditory feedback intervals on a music performance task. Perception & Psychophysics, 15, 21-25.
33. Gilliard, A. R., & Martin, R. (1940). Some factors in estimating short time intervals. Journal of Experimental Psychology, 27, 243-255.
34. Grondin, S., Meilleur-Wells, G., & Lachance, R. (1999). When to start explicit counting in a time-intervals discrimination task: A critical point in the timing process of humans. Journal of Experimental Psychology: Human Perception and Performance, 25, 993-1004.
35. Hibi, S. (1983). Rhythm perception in repetitive sound sequence. Journal of the Acoustical Society of Japan, 4, 83-95.
36. Hicks, R. E., & Allen, D. A. (1979). Counting eliminates the repetition effect in judgments of temporal duration. Acta Psychologica, 43, 361-366.
37. Hommel, B., Müsseler, J., Aschersleben, G., & Prinz, W. (2001). The theory of event coding (TEC): A framework for perception and action planning. Behavioral and Brain Sciences, 24, 849-937.
38. Howell, P. (1983). The effect of delaying auditory feedback of selected components of the speech signal. Perception & Psychophysics, 34, 387-396.
39. Howell, P., & Archer, A. (1984). Susceptibility to the effects of delayed auditory feedback. Perception & Psychophysics, 36, 296-302.
40. Howell, P., & Powell, D. J. (1987). Delayed auditory feedback with delayed sounds varying in duration. Perception & Psychophysics, 42, 166-172.
41. Howell, P., Powell, D. J., & Khan, I. (1983). Amplitude contour of the delayed signal and interference in delayed auditory feedback tasks. Journal of Experimental Psychology: Human Perception and Performance, 9, 772-784.
42. Jagacinski, R. J., Marshburn, E., Klapp, S. T., & Jones, M. R. (1988). Tests of parallel versus integrated structure in polyrhythmic tapping. Journal of Motor Behavior, 20, 416-442.
43. Jones, M. R. (1976). Time, our lost dimension: Toward a new theory of perception, attention, and memory. Psychological Review, 83, 323-355.
44. Jones, M. R., & Boltz, M. (1989). Dynamic attending and responses to time. Psychological Review, 96, 459-491.
45. Jones, M. R., & Pfordresher, P. Q. (1997). Tracking melodic events using joint accent structure. Canadian Journal of Experimental Psychology, 51, 271-291.
46. Kelso, J. A. S. (1995). Dynamic patterns. Cambridge, MA: MIT Press.
47. Keppel, G. (1991). Design and analysis: A researcher's handbook. Upper Saddle River, NJ: Prentice-Hall.
48. Kirk, R. E. (1995). Experimental design: Procedures for the behavioral sciences (3rd ed.). Pacific Grove, CA: Brooks/Cole.
49. Large, E. W. (2000). On synchronizing movements to music. Human Movement Science, 19, 527-566.
50. Large, E. W., Fink, P., & Kelso, J. A. S. (2002). Tracking simple and complex sequences. Psychological Research, 66, 3-17.
51. Large, E. W., & Jones, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review, 106, 119-159.
52. Large, E. W., & Palmer, C. (2002). Perceiving temporal regularity in music. Cognitive Science, 26, 1-37.
53. Lashley, K. (1951). The problem of serial order in behavior. In L. A. Jeffress (Ed.), Cerebral mechanisms in behavior (pp. 112-136). New York: Wiley.
54. Lee, B. S. (1950). Effects of delayed speech feedback. Journal of the Acoustical Society of America, 22, 824-826.
55. Lee, B. S. (1951). Artificial stutter. Journal of Speech and Hearing Disorders, 16, 53-55.
56. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
57. Liberman, M., & Prince, A. (1977). On stress and linguistic rhythm. Linguistic Inquiry, 8, 249-336.
58. London, J. (2002). Cognitive constraints on metric systems: Some observations and hypotheses. Music Perception, 19, 529-530.
59. MacKay, D. G. (1968). Metamorphosis of a critical interval: Age-linked changes in the delay in auditory feedback that produces maximal disruption of speech. Journal of the Acoustical Society of America, 43, 811-821.
60. MacKay, D. G. (1970). How does language familiarity influence stuttering under delayed auditory feedback? Perceptual and Motor Skills, 30, 655-669.
61. MacKay, D. G. (1987). The organization of perception and action. New York: Springer-Verlag.
62. Maddox, W. T. (2002). Feedback and response characteristic effects on rule-based and information integration category learning. Abstracts of the Psychonomic Society, 7, 36.
63. Martin, J. G. (1972). Rhythmic (hierarchical) versus serial structure in speech and other behavior. Psychological Review, 79, 485-509.
64. Meyer, R. K., & Palmer, C. (2002). Rate and tactus effects on timing and serial order in music performance. Manuscript submitted for publication.
65. Müller, K., Aschersleben, G., Esser, K. H., & Müsseler, J. (2000). Effects of delayed auditory feedback on speech: Just a problem of displaced rhythm? In P. Desain & L. Windsor (Eds.), Rhythm perception and production (pp. 249-262). Lisse, the Netherlands: Swets & Zeitlinger.
66. Müsseler, J. (1999). How independent from action control is perception? An event coding account for more equally-ranked crosstalks. In G. Aschersleben, T. Bachmann, & J. Müsseler (Eds.), Cognitive contributions to the perception of spatial and temporal events (pp. 121-148). Amsterdam: Elsevier.
67. Norman, D. (1981). Categorization of action slips. Psychological Review, 88, 1-15.
68. Palmer, C. (1997). Music performance. Annual Review of Psychology, 48, 115-138.
69. Palmer, C., & Drake, C. (1997). Monitoring and planning capacities in the acquisition of music performance skills. Canadian Journal of Experimental Psychology, 51, 369-384.
70. Palmer, C., & Krumhansl, C. L. (1990). Mental representations for musical meter. Journal of Experimental Psychology: Human Perception and Performance, 16, 728-741.
71. Palmer, C., & Pfordresher, P. Q. (in press). Incremental planning in sequence production. Psychological Review.
72. Palmer, C., & Schendel, Z. A. (2002). Working memory constraints in sequence production. Abstracts of the Psychonomic Society, 7, 30.
73. Palmer, C., & van de Sande, C. (1993). Units of knowledge in music performance. Journal of Experimental Psychology: Learning, Memory, and Cognition, 19, 457-470.
74. Palmer, C., & van de Sande, C. (1995). Range of planning in skilled music performance. Journal of Experimental Psychology: Human Perception and Performance, 21, 947-962.
75. Patel, A. D. (1998). Syntactic processing in language and music: Different cognitive operations, similar neural resources? Music Perception, 16, 27-42.
76. Pellecchia, G. L., & Turvey, M. T. (2001). Cognitive activity shifts the attractors of bimanual rhythmic coordination. Journal of Motor Behavior, 33, 9-15.
77. Penel, A., & Drake, C. (1998). Sources of timing variations in music performance: A psychological segmentation model. Psychological Research, 61, 12-32.
78. Penel, A., & Drake, C. (2000). Rhythm in music performance and perceived structure. In P. Desain & L. Windsor (Eds.), Rhythm perception and production (pp. 225-232). Lisse, the Netherlands: Swets & Zeitlinger.
79. Peters, M. (1989). The relationship between variability of intertap intervals and interval duration. Psychological Research, 51, 38-42.
80. Pfordresher, P. Q. (2003). The role of melodic and rhythmic accents in musical structure. Music Perception, 20, 431-464.
81. Pfordresher, P. Q., & Palmer, C. (2002). Effects of delayed auditory feedback on timing of music performance. Psychological Research, 66, 71-79.
82. Pikovsky, A., Rosenblum, M., & Kurths, J. (2001). Synchronization: A universal concept in nonlinear sciences. Cambridge, England: Cambridge University Press.
83. Pitt, M. A., & Samuel, A. G. (1990). The use of rhythm in attending to speech. Journal of Experimental Psychology: Human Perception and Performance, 16, 564-573.
84. Povel, D. J. (1981). Internal representation of simple temporal patterns. Journal of Experimental Psychology: Human Perception and Performance, 7, 3-18.
85. Povel, D. J., & Essens, P. (1985). Perception of temporal patterns. Music Perception, 2, 411-440.
86. Pressing, J. (1988). Improvisation: Methods and models. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 129-178). Oxford, England: Clarendon Press.
87. Pressing, J. (1999). The referential dynamics of cognition and action. Psychological Review, 106, 714-747.
88. Prinz, W. (1997). Perception and action planning. European Journal of Cognitive Psychology, 9, 129-154.
89. Repp, B. H. (1995). Detectability of duration and intensity increments in melody tones: A partial connection between music perception and performance. Perception & Psychophysics, 57, 1217-1232.
90. Repp, B. H. (1998a). Obligatory "expectations" of expressive timing induced by perception of musical structure. Psychological Research, 61, 33-43.
91. Repp, B. H. (1998b). Variations on a theme by Chopin: Relations between perception and production of timing in music. Journal of Experimental Psychology: Human Perception and Performance, 24, 791-811.
92. Repp, B. H. (1999a). Detecting deviations from metronomic timing in music: Effects of perceptual structure on the mental timekeeper. Perception & Psychophysics, 61, 529-548.
93. Repp, B. H. (1999b). Effects of auditory feedback deprivation on expressive piano performance. Music Perception, 16, 409-438.
94. Repp, B. H. (2000). Compensation for subliminal timing perturbations in perceptual-motor synchronization. Psychological Research, 63, 106-128.
95. Repp, B. H. (2001). Phase correction, phase resetting, and phase shifts after subliminal timing perturbations in sensorimotor synchronization. Journal of Experimental Psychology: Human Perception and Performance, 27, 600-621.
96. Repp, B. H. (2002). Automaticity and voluntary control of phase correction following event onset shifts in sensorimotor synchronization. Journal of Experimental Psychology: Human Perception and Performance, 28, 410-430.
97. Repp, B. H. (2003). Phase attraction in sensorimotor synchronization with auditory sequences: Effects of single and periodic distractors on synchronization accuracy. Journal of Experimental Psychology: Human Perception and Performance, 29, 290-309.
98. Robinson, G. M. (1972). The delayed auditory feedback effect is a function of speech rate. Journal of Experimental Psychology, 95, 1-5.
99. Rosenbaum, D. A., Kenny, S. B., & Derr, M. A. (1983). Hierarchical control of rapid movement sequences. Journal of Experimental Psychology: Human Perception and Performance, 9, 86-102.
100. Rumelhart, D. E., & Norman, D. A. (1981). Simulating a skilled typist: A study of skilled cognitive-motor performance. Cognitive Science, 6, 1-36.
101. Semjen, A., & Ivry, R. B. (2001). The coupled oscillator model of between-hand coordination in alternate-hand tapping: A reappraisal. Journal of Experimental Psychology: Human Perception and Performance, 27, 251-265.
102. Semjen, A., Vorberg, D., & Schulze, H. (1998). Getting synchronized with the metronome: Comparisons between phase and period correction. Psychological Research, 61, 44-55.
103. Sloboda, J. A. (1984). Experimental studies of musical reading: A review. Music Perception, 2, 222-236.
104. Thaut, M. H., Miller, R. A., & Schauer, L. M. (1998). Multiple synchronization strategies in rhythmic sensorimotor tasks: Phase vs. period correction. Biological Cybernetics, 79, 241-250.
105. Todd, N. P. M. (1992). The dynamics of dynamics: A model of musical expression. Journal of the Acoustical Society of America, 91, 3540-3550.
106. Todd, N. P. M. (1995). The kinematics of musical expression. Journal of the Acoustical Society of America, 97, 1940-1949.
107. Todd, N. P. M. (1999). Motion in music: A neurobiological perspective. Music Perception, 17, 115-126.
108. Treffner, P. J., & Turvey, M. T. (1993). Resonance constraints on rhythmic movement. Journal of Experimental Psychology: Human Perception and Performance, 19, 1221-1237.
109. Vincente, K. J., & Wang, J. H. (1998). An ecological theory of expertise effects in memory recall. Psychological Review, 105, 33-56.
110. Vos, P. G., & Helsper, E. L. (1992). Tracking simple rhythms: On-beat versus off-beat performance. In F. Macar, V. Pouthas, & W. J. Friedman (Eds.) Time, action and cognition: Towards bridging the gap (pp. 287-299). Dordrecht, the Netherlands: Kluwer.
111. Wearden, J. H. (1991). Do humans possess an internal clock with scalar timing properties? Learning & Motivation, 22, 59-83.