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Musical timing is a rich, complex phenomenon which changes across cultures, periods and styles and requires highly explicit terminology in order to communicate clearly between music theorists, psychologists, neuroscientists, performers and indeed with linguists. Here I respond to Justin London’s opening paper by outlining and expanding upon his key points and raising additional questions regarding the neural basis and the functional role of musical timing.
|Number of pages||5|
|Journal||Empirical Musicology Review|
|Publication status||Published - 2012|
- beat, pulse, play, minimized prediction error, shared experience
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- 1 Invited talk