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Recent publications from APAL:

Note: All articles are the sole copyright of their respective publishers. By downloading these materials you agree to use them for educational purposes only.

• Pruitt, T. A., & Pfordresher, P. Q. (2015). The role of auditory feedback in speech and song. Journal of Experimental Psychology: Human Perception and Performance, 41, 152-166.
• Pfordresher, P. Q., Demorest, S. M., Dalla Bella, S., Hutchins, S., Loui, P., Rutkowski, J., & Welch, G. F. (2015). Theoretical perspectives on singing accuracy: An introduction to the special issue on singing accuracy (Part 1). Music Perception, 32, 227-231.
• Demorest, S. M., Pfordresher, P. Q., Dalla Bella, S., Hutchins, S., Loui, P., Rutkowski, J., & Welch, G. F. (2015). Methodological perspectives on singing accuracy: In introduction to the special issue on singing accuracy (Part 2). Music Perception, 32, 266-271.
• Demorest, S. M., & Pfordresher, P. Q. (2015). Singing accuracy development from K-adult: A comparative study. Music Perception, 32, 293-302.
• Pfordresher, P. Q., Halpern, A. R., & Greenspon, E. B. (2015). A Mechanism for Sensorimotor Translation in Singing: The Multi-Modal Imagery Association (MMIA) Model. Music Perception, 32, 242-253.
• Zamm, A., Palmer, C., & Pfordresher, P. Q. (2015). Temporal coordination in joint music performance: Effects of endogenous rhythms and auditory feedback. Experimental Brain Research, 233, 607-615.
• Mathias, B., Pfordresher, P. Q., & Palmer, C. (2015). Context and meter enhance long-range planning in music performance. Frontiers in Human Neuroscience, 8, 1040.
• Pfordresher, P. Q., & Beasley, R. T. E. (2014). Making and monitoring errors based on altered auditory feedback. Frontiers in Psychology, 5, 914.
• Pfordresher, P. Q., Mantell, J. T., Brown, S., Zivadinov, R., & Cox, J. L. (2014). Brain responses to altered auditory feedback during musical keyboard performance: An fMRI study. Brain Research, 1556, 28-37.
• Mercado, E., III, Mantell, J. T., & Pfordresher, P. Q. (2014). Imitating sounds: A cognitive approach to understanding vocal imitation. Comparative Cognition & Behavior Reviews, 9, 1-57.
• Acevedo, S., Temperley, D., & Pfordresher, P. Q. (2014). Effects of metrical encoding on melody recognition. Music Perception, 31, 372-386.
• Pfordresher, P. Q., & Mantell, J. T. (2014). Singing with yourself: Evidence for an inverse modeling account of poor-pitch singing. Cognitive Psychology, 70, 31-57.
• Pfordresher, P. Q. (2014). "Deafness" effects in detecting alterations to auditory feedback during sequence production. Psychological Research, 78, 96-112.
• Liu, F. Jiang, C., Pfordresher, P. Q., Mantell, J. T. Xu, X., Yang, Y. & Stewart, L. (2013). Individuals with congenital amusia imitate pitches more accurately in singing than in speaking: Implications for music and language processing. Attention, Perception & Psychophysics, 75, 1783-1798.
• Mantell, J. T., & Pfordresher, P. Q. (2013). Vocal imitation of song and speech. Cognition, 127, 177-202.
• Pfordresher, P. Q. & Halpern, A. R. (2013). Auditory imagery and the poor pitch singer. Psychonomic Bulletin & Review, 20, 747-753.
• Wisniewski, M. G., Mantell, J. T., & Pfordresher, P. Q. (2013). Transfer effects in the vocal imitation of speech and song. Psychomusicology: Music, Mind and Brain, 23, 82-99.
• Kulpa, J. D., & Pfordresher, P. Q. (2013). Effects of delayed auditory and visual feedback on sequence production. Experimental Brain Research, 224, 69-77.
• Prince, J. B., & Pfordresher, P. Q. (2012). The role of pitch and temporal diversity in the perception and production of musical sequences. Acta Psychologica, 141, 184-198.
• Pfordresher, P. Q. (2012). Musical training and the role of auditory feedback during performance. Annals of the New York Academy of Sciences, 1252, 171-176.
• Pfordresher, P. Q., & Mantell, J. T. (2012). Effects of altered auditory feedback across effector systems: Production of melodies by keyboard and singing. Acta Psychologica, 139, 166-177.
• Couchman, J. J., Beasley, R., & Pfordresher, P. Q., (2012). The experience of agency in sequence production with altered auditory feedback. Consciousness and Cognition, 21, 186-203.
• Pfordresher, P. Q., Keller, P. E., Koch, I., Palmer, C.,& Yildirim, E. (2011). Activation of learned action sequences by auditory feedback. Psychonomic Bulletin & Review, 18, 544-549.
• Pfordresher, P. Q., & Kulpa, J. (2011). The dynamics of disruption from delayed auditory feedback: Further evidence for a dissociation of sequencing and timing. Journal of Experimental Psychology: Human Perception and Performance, 37, 949-967.
• Pfordresher, P. Q., & Dalla Bella, S. (2011). Delayed auditory feedback and movement. Journal of Experimental Psychology: Human Perception and Performance, 37, 566-579.
• Giuliano, R., Pfordresher, P. Q., Stanley, E., Narayana, S., & Wicha, N. (2011). Native experience with a tone language enhances pitch discrimination and the speed of neural responses to pitch change. Frontiers in Psychology, 2, 146.
• Pfordresher, P. Q. (2011). Poor pitch singing as an inverse model deficit: Imitation and estimation. In A. Williamon, D. edwards & L. Bartel (Eds.) Proceedings of the International Symposium on Performance Science (pp. 539-544). Association Européenne des Conservatories : Utrecht, the Netherlands.
• Mathias, B., Anderson, M. F., Palmer, C. & Pfordresher, P. Q. (2011). Effects of meter and serial position on memory retrieval durign music performance. In A. Williamon, D. edwards & L. Bartel (Eds.) Proceedings of the International Symposium on Performance Science (pp. 405-410). Association Européenne des Conservatories : Utrecht, the Netherlands.
• Pfordresher, P. Q., Brown, S., Meier, K., Belyk, M., & Liotti, M. (2010). Imprecise singing is widespread. Journal of the Acoustical Society of America, 128, 2182-2190.
• Mantell, J. T., & Pfordresher, P. Q. (2010). Modular processing? Phonetic information facilitates speech and song imitation. In S. M. Demorest, S. J. Morrison, & P. S. Campbell (Eds.) Proceedings of the 11th International Conference on Music Perception and Cognition (pp. 338-339). University of Washington: Seattle, Washington.
• Pfordresher, P. Q., & Varco, T. (2010). Altered auditory feedback effects on keyboard and singing performance. In S. M. Demorest, S. J. Morrison, & P. S. Campbell (Eds.) Proceedings of the 11th International Conference on Music Perception and Cognition (pp. 474-477). University of Washington: Seattle, Washington.
• Prince, J. B., & Pfordresher, P. Q. (2010). Pitch/time diversity effects in perception and production. In S. M. Demorest, S. J. Morrison, & P. S. Campbell (Eds.) Proceedings of the 11th International Conference on Music Perception and Cognition (pp. 821-824). University of Washington: Seattle, Washington.
• Tan, S.L., Pfordresher, P.Q., & Harré, R. (2010). Psychology ofmusic: From sound to significance. London : Routledge and Psychology Press.
• Pfordresher, P.Q., & Brown, S. (2009). Linguistic background influences the production and perception of musical intervals. Attention, Perception, & Psychophysics, 71, 1385-1398.
• Pfordresher, P.Q., & Mantell, J.T. (2009). Singing as a Form of Vocal Imitation: Mechanisms and Deficits.  In J. Louhivuori, T. Eerola, S. Saarikallio, T. Himberg, & P.-S. Eerola (Eds.) Proceedings of the 7th Triennial Conference of European Society for the Cognitive Sciences of Music (pp. 425-430). Jyväskylä, Finland .
• Pfordresher, P.Q. (2008). Auditory feedback in music performance: The role of transition-based similarity. Journal of Experimental Psychology: Human Perception and Performance, 34, 708-725.
• Pfordresher, P.Q. & Brown, S. (2007). Poor-pitch singing in the absence of "tone deafness." Music Perception, 25, 95-115.
• Pfordresher, P.Q. & Benitez, B. (2007). Temporal coordination between actions and sound during sequence production. Human Movement Science, 26, 742-756.
• Pfordresher, P.Q. Palmer, C., & Jungers, M. (2007). Speed, accuracy, and serial order in sequence production. Cognitive Science, 31, 63-98.
• Pfordresher, P.Q. (2006). Coordination of perception and action in music performance. Advances in Cognitive Psychology, 2, 183-198. [www.ac-psych.org]
• Pfordresher, P.Q. & Palmer C. (2006). Effects of hearing the past, present, or future during music performance. Perception & Psychophysics, 68, 362-376.
• Pfordresher, P.Q. (2005). Auditory feedback in music performance: The role of melodic structure and musical skill. Journal of Experimental Psychology: Human Perception and Performance, 31, 1331-1345.
• Pfordresher, P.Q. (2004). Can altered auditory information affect planning? Evidence from music performance. Stammering Research, 1, 51-53.
• Palmer, C. & Pfordresher, P.Q. (2003). Incremental planning in sequence production. Psychological Review, 110, 683-712.
• Pfordresher, P.Q. (2003a). The role of melodic and rhythmic accents in musical structure. Music Perception, 20, 431-464.
• Pfordresher, P.Q. (2003b). Auditory feedback in music performance: Evidence for a dissociation of sequencing and timing. Journal of Experimental Psychology: Human Perception and Performance, 29, 949-964.
• Pfordresher, P.Q. & Palmer, C. (2002). Effects of delayed auditory feedback on timing of music performance. Psychological Research, 66, 71-79.
• Palmer, C. & Pfordresher, P.Q. (2000). The faces of meter in performance and perception. in C. Woods, G. Luck, R. Brochard, F. Seddon & J. A. Sloboda (Eds.) Proceedings of the 6th International Conference on Music Perception and Cognition. Keele, UK : Keele University Department of Psychology.
• Jones, M.R. & Pfordresher, P.Q. (1997). Tracking melodic events using Joint Accent Structure. The Canadian Journal of Experimental Psychology, 51, 271-291.

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