- Dr. Caroline Palmer (caroline.palmer (at) mcgill.ca), Professor, Canada Research Chair in Cognitive Neuroscience of Performance, McGill.
- Brian Mathias (brian.mathias (at) mail.mcgill.ca), Graduate Fellow, McGill.
- Rebecca Scheurich (rebecca.scheurich (at) mail.mcgill.ca), Graduate Fellow, McGill.
- Anna Zamm (anna.zamm (at) mail.mcgill.ca), Graduate Fellow, McGill.
- Curtis Bogetti (curtis.bogetti (at) mail.mcgill.ca), Honours Undergraduate Student, McGill.
- Fran Spidle (frances.spidle (at) mcgill.ca), Lab Coordinator, McGill.
Caroline Palmer's research program combines two related issues in cognitive psychology: how people remember long sequences typical of speech and music, and how they produce those sequences. Many theories of memory for speech, written language, pictures, and other human endeavors focus on the problem of serial order: knowing what comes next in a sequence. What most theories do not address is the time course of retrieval: when particular sequential (serial order) information is available, and for how long. We focus on the time course of serial order in music performance and in speech, the most complex of human skills.
See Dr. Palmer's webpage for more information (including contact information).
Brian joined the Sequence Production Lab as a graduate student in fall 2009. He completed his Bachelor’s degree in Psychology and Piano Performance with Honors at Carnegie Mellon University. Most recently, Brian worked as a German Chancellor Fellow at the Max Planck Institute for Human Cognitive and Brain Sciences, where he researched long-term memory for
familiar tunes in an elderly population. Brian’s current research investigates skilled musicians’ memory for musical sequences.
Mathias, B., Pfordresher, P.Q., & Palmer, C. (2015). Context and meter enhance long-range planning in music performance. Frontiers in Human Neuroscience, 8, 1040. doi: 10.3389/fnhum.2014.01040.
- Mathias, B., Palmer, C., Perrin, F., & Tillmann, B. (2014). Sensorimotor learning enhances expectations during auditory perception. Cerebral Cortex. doi: 10.1093/cercor/bhu030.
- Palmer, C., Mathias, B., & Anderson, M. (2012). Sensorimotor mechanisms in music performance: Actions that go partially wrong. Annals of the New York Academy of Sciences, 1252, 185-191. doi: 10.1093/cercor/bhu030.
- Mathias, B., Palmer, C., Pfordresher, P. Q., & Anderson, M. F. (2011). Effects of meter and serial position on memory retrieval during music performance. In A. Williamon, D. Edwards, and L. Bartel (Eds.), Proceedings of the International Symposium on Performance Science (pp, 405-410). Utrecht, The Netherlands: European Association of Conservatoires.
Rebecca joined the Sequence Production Lab as a graduate student in 2015. She completed her Bachelor’s degree in Behavioral Neuroscience and Music magna cum laude at Western Washington University. After graduating, Rebecca worked as a research assistant at the Institute for Learning and Brain Sciences at the University of Washington investigating the effects of synchrony on empathy and coordination between children. Her current research examines parameters of rate flexibility in musicians and non-musicians.
- Jantzen, M. and Scheurich, R. (2014). Musical training affects the representation of speech. Proceedings of Meetings on Acoustics, 12, 060008. doi: 10.1121/1.4870066
Anna joined the Sequence Production Lab as a graduate student in 2012. She completed her Bachelor`s degree in Music and Psychology at Indiana University, and later worked as a research assistant at the Music and Neuroimaging Lab at Beth Israel and Harvard Medical School, where she conducted research using fMRI and diffusion tensor imaging to explore the neural correlates of music perception in populations with enhanced perceptual abilities such as absolute pitch and synesthesia. Her current research investigates how auditory feedback is used when musicians coordinate with others.
- Zamm, A., Pfordresher, P.Q., & Palmer, C. (2015). Temporal coordination in joint music performance: Effects of endogenous rhythms and auditory feedback. Experimental Brain Research, 233, 607-615.
- Zamm, A., Schlaug, G., Eagleman, D. M., & Loui, P. (2013). Pathways to seeing music: Enhanced structural connectivity in colored-music synesthesia. Neuroimage, 74, 359-366.
- Loui, P., Zamm, A., & Schlaug, G. (2012). Enhanced functional networks in absolute pitch. Neuroimage, 63, 632-640.
- Loui, P., Zamm, A., & Schlaug, G. (2012). Absolute pitch and synesthesia: Two sides of the same coin? Shared and distinct neural substrates of music listening. Proceedings of the International Conference on Music Perception and Cognition, NIH Public Access
Fran joined the lab in January 2007 as lab coordinator. She holds a Bachelor of Science from University of Toronto with majors in physics and philosophy, and a Master of Arts degree in music theory from McGill University. She is interested in many aspects of music cognition including rhythmic perception and production as well as synchronization.