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Peter Pfordresher, Ph.D.

PfordresherPeterProfessor, Director of Undergraduate Studies
Ph.D., Ohio State University
362 Park Hall
(716) 645-0234
Auditory perception and action laboratory
Google scholar citations page


Summary of Research Interests

I am interested in the way in which the mind organizes sequences of events in real time during production and perception. I am particularly interested in sensorimotor interactions that occur during the production of complex sequences such as music and speech. Specific research programs include the way in which people use the sounds they create (auditory feedback) to maintain fluency in production, individual differences in the vocal imitation of pitch, the role of memory retrieval in production, and the way in which sequence structure guides the perception of sequences.

Representative Publications


  • Tan, S. L., Pfordresher, P. Q., & Harré, R. (2017). Psychology of music: From sound to significance (2nd edition).  London : Routledge.

Journal Articles:

  • Greenspon, E.B., Pfordresher, P.Q., & Halpern, A.R. (2017).  Pitch imitation ability in mental transformations of melodies.  Music Perception, 35, 585-604.
  • Pfordresher, P.Q., & Kobrina, A. (2017).  Sensitivity to meter in audiotory feedback during music performance.  Psychomusicology: Music, Mind, and Brain, 27, 54-62.
  • Pfordresher, P. Q. & Brown, S. (2017). Vocal mistuning reveals the origin of musical scales.  Journal of Cognitive Psychology, 29, 35-52.
  • Belyk, M., Pfordresher, P.Q., Liotti, M., & Brown, S. (2016).  The neural basis of vocal pitch imitation in humans.  Journal of Cognitive Neuroscience, 28, 621-635.
  • Jebb, A. T., & Pfordresher, P.Q. (2016).  Exploring perception-action relations in music production: The asymmetric effert of tonal class.  Journal of Experimental Psychology: Human Perception and Performance, 42, 658-670.
  • Pfordresher, P.Q., & Larrouy-Maestri, P. (2015).  On drawing a line through the spectrogram:  How do we understand deficits of vocal pitch imitation?  Frontiers in Human Neuroscience, 9, 271.
  • 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.
  • Demerost, 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.
  • Pfordresher, P. Q., Mantell, J. T., Brown, S., Zivadinov, R., & Cox, J., L. (2014). Brain responses to altered auditory feedback during musical keyboard production: An fMRI study. Brain Research, 1556, 28-37.
  • 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., & Halpern, A. R. (2013). Auditory imagery and the poor-pitch singer. Psychonomic Bulletin & Review, 20, 747-753.
  • Mantell, J. T., & Pfordresher, P. Q. (2013). Vocal imitation of song and speech. Cognition, 127, 177-202.
  • Pfordresher, P. Q. & Kulpa, J. (2011). The dynamics of disruption from altered 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. & Brown, S. (2007). Poor-pitch singing in the absence of “tone deafness.” Music Perception, 25, 95-115.