- Dr. Caroline Palmer (caroline.palmer (at) mcgill.ca), Professor, Canada Research Chair in Cognitive Neuroscience of Performance, McGill.
- Dr. Baptiste Caramiaux (baptiste.caramiaux (at) mail.mcgill.ca), Postdoctoral Fellow, McGill.
- Dr. Pauline Tranchant (pauline.tranchant (at) mail.mcgill.ca), Postdoctoral Fellow, McGill.
- Rebecca Scheurich (rebecca.scheurich (at) mail.mcgill.ca), Graduate Fellow, McGill.
- Shannon Wright (shannon.wright2 (at) mail.mcgill.ca), Graduate Fellow, McGill.
- Sebastian Andric (sebastian.andric (at) mail.mcgill.ca), BSc, Neuroscience, McGill.
- Amy Friedman (amy.friedman (at) mail.mcgill.ca), BA, Psychology, McGill.
- Eléonore Scholler (eleonore.scholler (at) mail.mcgill.ca), BA & Sci, Cognitive Science, McGill.
- Ajin Tom (ajin.tom (at) mail.mcgill.ca), MA, Music Technology, 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.
Pauline joined the Sequence Production Lab as an NSERC-CREATE postdoctoral fellow in September 2018. She obtained her PhD at Université de Montréal with Pr. Isabelle Peretz, where she studied the behavioural bases of nonmusicians' movement synchronization to music. Pauline completed a MSci degree in pure mathematics and a BSci in mathematics and physics at Université catholique de Louvain (Belgium). Pauline’s research at SPL examines the behavioural and neural bases of temporal coordination between two people during joint action, such as playing music together.
- Tranchant*, P., Shiell*, M.M., Giordano, M., Nadeau, A., Peretz, I., & Zatorre, R. J. (2017). Feeling the beat: Bouncing synchronization to vibrotactile music in hearing and early deaf people. Frontiers in Neuroscience, 11, 507. DOI: 10.3389/fnins.2017.00507. (*these authors equally contributed to the work).
- Tranchant, P., Vuvan, D., & Peretz, I. (2016). Keeping the beat: A large sample study of bouncing and clapping to music. PloS One, 11, e0160178.
- Tranchant, P. & Vuvan, D. T. (2015). Current conceptual challenges in the study of rhythm processing deficits. Frontiers in Neuroscience, 9, 197. DOI: 10.3389/fnins.2015.00197. DOI: 10.1371/journal.pone.0160178.
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.
- Scheurich, R., Zamm, A., & Palmer, C. (2018). Tapping into rate flexibility: Musical training facilitates synchronization around spontaneous production rates. Frontiers in Psychology, doi:10.3389/fpsyg.2018.00458
- Palmer, C. & Scheurich, R. (in press). Musicians in action: Solo and ensemble performance. In J. Rentfrow, & D. Levitin (Eds), Foundations of Music Psychology: Theory and Research. Cambridge, MA: MIT Press.
- 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
Shannon joined the Sequence Production Lab as a doctoral student in September 2018. She completed her Bachelor degree in Psychology and Philosophy at Simon Fraser University, where she conducted her Honours research on musically-induced emotions. Shannon then completed a Master’s degree at the University of Jyväskylä in Music, Mind, and Technology, where she studied audiomotor synchronisation during varied states of physiological arousal. Her current research investigates physiological markers involved in spontaneous motor production rates in musicians and non-musicians.
Sebastian is an undergraduate student completing his BSci in Neuroscience at McGill who joined the Sequence Production Lab in September 2018. Before joining the lab, he had completed a research project identifying and classifying spatially tuned cells in the medial entorhinal cortex of mice. His current research investigates the time-of-day effects on spontaneous production rates in musicians and non-musicians
Amy is an undergraduate student in psychology at McGill who joined the Sequence Production Lab in the summer of 2018. Previously, she volunteered as a research assistant with a study on mental illness and how it is perceived in East Asian communities. Amy has had musical training in violin and piano and she is currently working on a research project examining the production of speech and music.
Eléonore joined the Sequence Production Lab in September 2018 as an undergrad student completing her BArts&Sci with honours in Cognitive Science at McGill. She has previously volunteered as a research assistant in studies addressing attentional systems and metacognition. She is interested in the cognitive processes behind music performance, and she is currently working on the behavioural correlates of interpersonal temporal coordination among musicians.
Ajin Tom joined the SPL in 2018 as a research assistant. He holds a B. Technology in Electronics & Communication Eng from National Inst Technology Karnaraka (India) and is currently pursuing a Masters in Music Technology at McGill. His research interests lie in spatial audio, signal processing and embedded systems applications for music.
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.