Vol. 1 1. Neural Basis of Vision. 2. Color Vision. 3. Depth Perception. 4. Perception of Visual Motion. 5. Perceptual Organization in Vision. 6. Attention. 7. Visual Object Recognition. 8. Motor Control. 9. Neural Basis of Audition. 10. Auditory Perception and Cognition. 11. Music Perception and Cognition. 12. Speech Perception. 13. Neural Basis of Haptic Perception. 14. Touch and Haptics. 15. Perception of Pain and Temperature. 16. Taste. 17. Olfaction. Vol. 2 1. Kinds of Memory. 2. Models of Memory. 3. Cognitive Neuroscience. 4. Spatial Cognition. 5. Knowledge Representation. 6. Psycholinguistics. 7. Language Processing. 8. Problem Solving. 9. Reasoning. 10. Decision Making. 11. Concepts & Categorization. 12. Cognitive Development. 13. Culture & Cognition. Vol. 3 1. Associative Structures in Pavlovian and Instrumental Conditioning. 2. Learning: Laws and Models of Basic Conditioning. 3. Reinforcement Learning. 4. Neural Analysis of Learning in Simple Systems. 5. Learning Mutants. 6. Learning Instincts. 7. Perceptual Learning. 8. Spatial Learning. 9. Temporal Learning. 10. Role of Learning in Cognitive Development. 11. Language Acquisition. 12. Role of Learning in the Operation of Motivational Systems. 13. Emotional Plasticity. 14. Anatomy of Motivation. 15. Hunger Energy Homeostasis. 16. Thirst and Water-Salt Appetite. 17. Reproductive Motivation. 18. Social Behavior. 19. Addiction. Vol. 4 1. Representational Measurement Theory. 2. Signal Detection Theory. 3. Psychophysical Scaling. 4. Cognitive Neuropsychology. 5. Functional Brain Imaging. 6. Neural Network Modeling. 7. Parallel and Serial Processing. 8. Methodology and Statistics in Single-Subject Experiments. 9. Analysis, Interpretation, and Visual Presentation of Experimental Data. 10. Meta-Analysis. 11. Mathematical Modeling. 12. Analysis of Response Time Distributions. 13. Testing and Measurement. 14. Personality and Individual Differences. 15. Electrophysiology of Attention. 16. Single vs. Multiple Systems of Memory and Learning. 17. Infant Cognition. 18. Aging and Cognition.

Stevens' handbook of experimental psychology

In speech production, previously spoken and upcoming words can impinge on the word currently being said, resulting in perseverations (e.g., "beef needle soup") and anticipations (e.g., "cuff of coffee"). These errors reveal the extent to which the language-production system is focused on the past, the present, and the future and therefore are informative about how the system deals with serial order. This article offers a functional analysis of serial order in language and develops a general formal model. The centerpiece of the model is a prediction that the fraction of serial-order errors that are anticipatory, as opposed to perseveratory, can be closely predicted by overall error rate. The lower the error rate, the more anticipatory the errors are, regardless of the factors influencing error rate. The model is successfully applied to experimental and natural error data dealing with the effects of practice, speech rate, individual differences, age, and brain damage.

/pdf/language-production-and-serial-order-a-functional-analysis-3sgxydwap9.pdf

Language production and serial order: a functional analysis and a model.

Publisher Summary Music performance is a large subject that can be approached in many different ways. This chapter focuses on empirical research of music performance and related matters. Most of this research is concerned with Western tonal music and mainly art music. Excellence in music performance involves two major components like a genuine understanding of what the music is about, its structure and meaning, and a complete mastery of the instrumental technique. Evaluation of performance included many studies which are reviewed earlier. Evaluation occurs in the everyday activity of music critics, music teachers, and musicians. An overall evaluation is considered as a weighted function of the evaluations in the specific aspects. In order to maintain the tempo and to achieve perceived synchrony, musicians should therefore play a small amount ahead of the beat they hear. With sharp attacks the delay is less, and instruments with sharp attacks may therefore serve as “beat-definers” for the rest of an ensemble. In addition, some attempts are made to predict evaluation of music performances from the physical characteristics of the performances.

The Performance of Music

http://www-classes.usc.edu/engr/ise/599muscog/2004/presentations/10.3-liu.pdf

Perceiving temporal regularity in music

Empirical research on music performance has increased considerably during recent decades. This article updates the review of the research up to 1995 published by the current author in 1999. Coverin...

/pdf/music-performance-research-at-the-millennium-376vqb8ztr.pdf

Music Performance Research at the Millennium

The units of knowledge that form cognitive plans for music performance were examined in production errors. In Experiment 1, pianists performed multivoice homophonic music (containing strong across-voice associations) and polyphonic music (containing strong within-voice associations). Pitch errors reflected more chordal (across-voice) units in homophonic performances and more single-note units in polyphonic performances. Error instructions were harmonically and diatonically related to their intended pitches more often than chance, which demonstrates retrieval-based influences on planning. In Experiment 2, pianists conceptualized one of several voices as melody. Both the melody and the voice controlled by outer right-hand fingers (a common location of melody) contained fewer errors, which implies that there are conceptual, retrieval-based, and articulatory influences on units of knowledge that contribute to planning music performance.

Units of knowledge in music performance.

Two factors influence the range of planning in music performance: the structural content of musical events and the serial distances between them. In this experiment, pianists memorized and performed polyphonic music (which contained multiple simultaneous voices) in which the serial distance and phrase structure between the entrances of 2 musical voices were varied. The distance between each musical element and its influence on other elements was assessed in production errors and interonset timing measures. Errors and timing measures offered converging evidence for interactive effects of serial distance and phrase structure; intervening phrase boundaries reduced the serial distances over which musical elements influenced one another. These findings suggest structural as well as linear constraints on the planning of complex sequences.

Carla van de Sande

Papers

Units of knowledge in music performance.

Range of Planning in Music Performance