Solo performance is a common experience for children learning to play an instrument, yet the research literature on these experiences is limited, with a focus on older children and adolescents. The purpose of this study was to examine younger children\'s feelings about performance over the course of a year of study. Forty-one children were interviewed about their piano lessons and performance experiences at the end of two consecutive semesters of study. They also responded to a pictorial scale on their feelings about performance at each interview and again at two piano recitals. Results indicate that children are remarkably consistent in their feelings about performing in piano recitals, with few significant changes over time and context. Correlation analyses indicate changes in the relationships between feelings about performance and certain study variables over time-in particular age, liking of lessons, liking of performing, practice time, and perception of being good at piano. In the fall term, gender and age are significant predictors of feelings about performance, with younger children and boys feeling most positive. In the spring, the findings shift and the only significant predictor is children\'s liking of piano lessons. Implications and directions for further research are discussed.

Music performance can be cognitively and physically demanding. These demands vary across the course of a performance as the content of the music changes. More demanding passages require performers to focus their attention more intensity, or expend greater \"mental effort.\" To date, it remains unclear what effect different cognitive-motor demands have on performers\' mental effort. It is likewise unclear how fluctuations in mental effort compare between performers and perceivers of the same music. We used pupillometry to examine the effects of different cognitive-motor demands on the mental effort used by performers and perceivers of classical string quartet music. We collected pupillometry, motion capture, and audio-video recordings of a string quartet as they performed a rehearsal and concert (for live audience) in our lab. We then collected pupillometry data from a remote sample of musically-trained listeners, who heard the audio recordings (without video) that we captured during the concert. We used a modelling approach to assess the effects of performers\' bodily effort (head and arm motion; sound level; performers\' ratings of technical difficulty), musical complexity (performers\' ratings of harmonic complexity; a score-based measure of harmonic tension), and expressive difficulty (performers\' ratings of expressive difficulty) on performers\' and listeners\' pupil diameters. Our results show stimulating effects of bodily effort and expressive difficulty on performers\' pupil diameters, and stimulating effects of expressive difficulty on listeners\' pupil diameters. We also observed negative effects of musical complexity on both performers and listeners, and negative effects of performers\' bodily effort on listeners, which we suggest may reflect the complex relationships that these features share with other aspects of musical structure. Looking across the concert, we found that both of the quartet violinists (who exchanged places halfway through the concert) showed more dilated pupils during their turns as 1st violinist than when playing as 2nd violinist, suggesting that they experienced greater arousal when \"leading\" the quartet in the 1st violin role. This study shows how eye tracking and motion capture technologies can be used in combination in an ecological setting to investigate cognitive processing in music performance.

Pauses are an integral feature of social interaction. Conversation partners often pause between conversational turns, and musical co-performers often pause between musical phrases. How do humans coordinate the duration of pauses to ensure seamless interaction? A total of 40 trained pianists performed a simple melody containing fermatas (notated expressive pauses of unspecified duration) first alone (Solo) and then with a partner (Duet) while electroencephalography (EEG) was recorded. As predicted, Duet partners\' tone onset synchrony was reduced for tones following pauses. Pauses were shorter in Duet relative to Solo performance, and synchrony of partners\' Duet tone onsets was enhanced for tones following shorter pauses. EEG analysis revealed classic signatures of action preparation during pauses, namely decreases in the power of cortical beta oscillations (13-30 Hz, event-related desynchronization ERD). Beta ERD did not differ between pauses in Solo and Duet performance, but was enhanced for shorter relative to longer pauses, suggesting that reduced pause durations in Duet performance facilitated a neural state of enhanced action readiness. Together these findings provide novel insight into behavioural strategies by which musical partners resolve coordination challenges posed by expressive silence, and capture a clear neural signature of action planning during time-varying silences in natural music performance.

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians\' expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers\' effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians\' perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis - proposing that intentions manifest in bodily activity are understood through shared embodied processes - of a marimbists\' expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer\'s expressive bodily behaviors appeared to differ according to participants\' individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants\' attention in approaching the analyses. Findings support forward and inverse perception-action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.

This study focuses in on a moment of live performance in which the entrainment amongst a musical quartet is threatened. Entrainment is asymmetric in so far as there is an ensemble leader who improvises and expands the structure of a last chorus of a piece of music beyond the limits tacitly negotiated during prior rehearsals and performances. Despite the risk of entrainment being disturbed and performance interrupted, the other three musicians in the quartet follow the leading performer and smoothly transition into unprecedented performance territory. We use this moment of live performance to work back through the fieldwork data, building a diachronic study of the development and bases of entrainment in live music performance. We introduce the concept of entrainment and profile previous theory and research relevant to entrainment in music performance. After outlining our methodology, we trace the evolution of the structure of the piece of music from first rehearsal to final performance. Using video clip analysis, interviews and field notes we consider how entrainment shaped and was shaped by the moment of performance in focus. The sense of trust between quartet musicians is established through entrainment processes, is consolidated via smooth adaptation to the threats of disruption. Non-verbal communicative exchanges, via eye contact, gesture, and spatial proximity, sustain entrainment through phase shifts occurring swiftly and on the fly in performance contexts. These exchanges permit smooth adaptation promoting trust. This frees the quartet members to play with the potential disturbance of equilibrium inherent in entrained relationships and to play with this tension in an improvisatory way that enhances audience engagement and the live quality of performance.

Alterations of auditory feedback during piano performance can be profoundly disruptive. Furthermore, different alterations can yield different types of disruptive effects. Whereas alterations of feedback synchrony disrupt performed timing, alterations of feedback pitch contents can disrupt accuracy. The current research tested whether these behavioral dissociations correlate with differences in brain activity. Twenty pianists performed simple piano keyboard melodies while being scanned in a 3-T magnetic resonance imaging (MRI) scanner. In different conditions they experienced normal auditory feedback, altered auditory feedback (asynchronous delays or altered pitches), or control conditions that excluded movement or sound. Behavioral results replicated past findings. Neuroimaging data suggested that asynchronous delays led to increased activity in Broca\'s area and its right homologue, whereas disruptive alterations of pitch elevated activations in the cerebellum, area Spt, inferior parietal lobule, and the anterior cingulate cortex. Both disruptive conditions increased activations in the supplementary motor area. These results provide the first evidence of neural responses associated with perception/action mismatch during keyboard production.

Performing a piece of music involves the interplay of several cognitive and motor processes and requires extensive training to achieve a high skill level. However, even professional musicians commit errors occasionally. Previous event-related potential (ERP) studies have investigated the neurophysiological correlates of pitch errors during piano performance, and reported pre-error negativity already occurring approximately 70-100 ms before the error had been committed and audible. It was assumed that this pre-error negativity reflects predictive control processes that compare predicted consequences with actual consequences of one\'s own actions. However, in previous investigations, correct and incorrect pitch events were confounded by their different tempi. In addition, no data about the underlying movements were available. In the present study, we exploratively recorded the ERPs and 3D movement data of pianists\' fingers simultaneously while they performed fingering exercises from memory. Results showed a pre-error negativity for incorrect keystrokes when both correct and incorrect keystrokes were performed with comparable tempi. Interestingly, even correct notes immediately preceding erroneous keystrokes elicited a very similar negativity. In addition, we explored the possibility of computing ERPs time-locked to a kinematic landmark in the finger motion trajectories defined by when a finger makes initial contact with the key surface, that is, at the onset of tactile feedback. Results suggest that incorrect notes elicited a small difference after the onset of tactile feedback, whereas correct notes preceding incorrect ones elicited negativity before the onset of tactile feedback. The results tentatively suggest that tactile feedback plays an important role in error-monitoring during piano performance, because the comparison between predicted and actual sensory (tactile) feedback may provide the information necessary for the detection of an upcoming error.