1969: Dr. Phil. (psychology), University of Vienna
1973: Ph.D. (psychology), University of Chicago
1974-1976: Postdoctoral trainee, UConn Health Center, Farmington
1976-1991: Research staff (speech perception), Haskins Laboratories
1991- : Research staff (music perception and performance), Haskins Laboratories

Milestones

1944: Born in Vienna, Austria
1971: Married to Norma (Pasion)
1974: Permanent U.S. resident
1975: Daughter Mayumi born
1980: Daughter Midori born
1984-1986: Associate Editor (speech communication),
    J. Acoust. Soc.Am.
1988-1994: Editor, Language and Speech
1993-1996: Principal investigator, NIH R01 grant MH-51230
    ("Perception and Production of Rhythmic Microstructure")
1997: U.S. Citizen
1997-2003: Continuation of NIH grant MH-51230

Activities

Member of: Psychonomic Society; American Psychological Society;
    Society for Music Perception and Cognition.
Consulting editor, Journal of Experimental Psychology: Human Perception and Performance; Perception & Psychophysics, Music Perception; Ad-hoc reviewer for many psychology journals; Host of the annual New England Sequencing and Timing (NEST) Conference; Amateur pianist and music lover

Research interests

Until about 1991: perception of speech sounds, acoustic properties of speech. About 80 papers published on these topics.

1985-2000 - expressive parameters of music performance, individual differences among artists, perception of performance quality and difference, acoustics and psychoacoustics of piano sonorities.

Since about 2000: relationships between perception and action, sensorimotor synchronization, rhythm perception and production timing control.

Publications related to music

Serafine, M. L., Crowder, R.G., & Repp, B. H. (1984). Integration of melody

and text in memory for songs. Cognition, 16, 285-303.

Serafine, M. L., Davidson, J., Crowder, R. G., & Repp, B. H. (1986). On the

nature of melody-text integration in memory for songs. Journal of Memory and Language, 25, 123-135.

Repp, B. H. (1987). The sound of two hands clapping: An exploratory study.

Journal of the Acoustical Society of America, 81, 1100-1109.

Repp, B. H. (1989). Expressive microstructure in music: A preliminary

perceptual assessment of four composers' "pulses". Music Perception, 6, 243-274.

Crowder, R. G., Serafine, M. L., & Repp, B. H. (1990). Physical interaction and

association by contiguity in memory for the words and melodies of songs. Memory & Cognition, 18, 469-476.

Repp, B. H. (1990a). Composers' pulses: Science or art? Music Perception, 7,

423-434.

Repp, B. H. (1990b). Further perceptual evaluations of pulse microstructure in

computer performances of classical piano music. Music Perception, 8, 1-33.

Repp, B. H. (1990c). Patterns of expressive timing in performances of a

Beethoven minuet by nineteen famous pianists. Journal of the Acoustical Society of America, 88, 622-641.

Repp, B. H. (1991). Some cognitive and perceptual aspects of speech and

music. In J. Sundberg, L. Nord, & R. Carlson (Eds.), Music, language, speech, and brain (pp. 257-268). Houndmills, Basingstoke, U.K.: Macmillan.

Repp, B. H. (1992a). Probing the cognitive representation of musical time:

Structural constraints on the perception of timing perturbations. Cognition, 44, 241-281.

Repp, B. H. (1992b). Diversity and commonality in music performance: An

analysis of timing microstructure in Schumann's "Träumerei". Journal of the Acoustical Society of America, 92, 2546-2568.

Repp, B. H. (1992c). A constraint on the expressive timing of a melodic

gesture: Evidence from performance and aesthetic judgment. Music Perception, 10, 221-242.

Repp, B. H. (1993a). Some empirical observations on sound level properties

of recorded piano tones. Journal of the Acoustical Society of America, 93, 1136-1144.

Repp, B. H. (1993b). Objective performance analysis as a tool for the musical

detective. Journal of the Acoustical Society of America, 93, 1203-1204.

Repp, B. H. (1993c). Music as motion: A synopsis of Alexander Truslit's

"Gestaltung und Bewegung in der Musik" (1938). Psychology of Music, 21, 48-72.

Repp, B. H. (1994a). Relational invariance of expressive microstructure

across global tempo changes in music performance: An exploratory study. Psychological Research, 56, 269-284.

Repp, B. H. (1994b). On determining the basic tempo of an expressive music

performance. Psychology of Music, 22, 157-167.

Repp, B. H. (1994c). The tritone paradox and the pitch range of the speaking

voice: A dubious connection. Music Perception, 12, 227-255.

Repp, B. H. (1995a). Acoustics, perception, and production of legato

articulation on a digital piano. Journal of the Acoustical Society of America, 97, 3862-3874.

Repp, B. H. (1995b). Quantitative effects of global tempo on expressive timing

in music performance: Some perceptual evidence. Music Perception, 13, 39-57.

Repp, B. H. (1995c). Expressive timing in Schumann's "Träumerei": An

analysis of performances by graduate student pianists. Journal of the Acoustical Society of America, 98, 2413-2427.

Repp, B. H. (1995d). Detectability of duration and intensity increments in

melody tones: A partial connection between music perception and performance. Perception & Psychophysics, 57, 1217-1232.

Shove, P., & Repp, B. H. (1995). Musical motion and performance: Theoretical

and empirical perspectives. In J. Rink (Ed.), The practice of performance (pp. 55-83). Cambridge, U.K.: Cambridge University Press.

Repp, B. H. (1996a). The difficulty of measuring musical quality (and

quantity): Commentary on Weisberg (1994). Psychological Science, 7, 121-122.

Repp, B. H. (1996b). The dynamics of expressive piano performance:

Schumann's "Träumerei" revisited. Journal of the Acoustical Society of America, 100, 641-650.

Repp, B. H. (1996c). Review of Shaping time: Music, the brain, and

performance by David Epstein. Music Perception, 13, 591-604.

Repp, B. H. (1996d). Pedal timing and tempo in expressive piano

performance: A preliminary investigation. Psychology of Music, 24, 199-221.

Repp, B. H. (1996e). Patterns of note onset asynchronies in expressive piano

performance. Journal of the Acoustical Society of America, 100, 3917-3932.

Repp, B. H. (1996f). The art of inaccuracy: Why pianists' errors are difficult to

hear. Music Perception, 14, 161-184.

Repp, B. H. (1997a). The aesthetic quality of a quantitatively average music

performance: Two preliminary experiments. Music Perception, 14, 419-444. [Music examples]

Repp, B. H. (1997b). Review of Melodic Intonation, Psychoacoustics, and the

Violin by Janina Fyk. Music Perception, 14, 477-485.

Repp, B. H. (1997c). Acoustics, perception, and production of legato

articulation on a computer-controlled grand piano. Journal of the Acoustical Society of America, 102, 1878-1890.

Repp, B. H. (1997d). Some observations on pianists' timing of arpeggiated

chords. Psychology of Music, 25, 133-148.

Repp, B. H. (1997e). Expressive timing in a Debussy Prelude: A comparison of

student and expert pianists. Musicae Scientiae, 1, 257-268.

Repp, B. H. (1997f). Spectral envelope and context effects in the tritone

paradox. Perception, 26, 645-665.

Repp, B. H. (1997g). The effect of tempo on pedal timing in piano

performance. Psychological Research, 60, 164-172.

Repp, B. H. (1997h). Variability of timing in expressive piano performance

increases with interval duration. Psychonomic Bulletin & Review, 4, 530-534.

Repp, B. H. (1998, Oct.). Unpublished Manuscript. Perception and Production

of Staccato Articulation on the Piano.

Repp, B. H. (1998a). Obligatory "expectations" of expressive timing induced

by perception of musical structure. Psychological Research, 61, 33-43.

Repp, B. H. (1998b). The detectability of local deviations from a typical

expressive timing pattern. Music Perception, 15, 265-290.

Repp, B. H. (1998c). Variations on a theme by Chopin: Relations between

perception and production of deviations from isochrony in music. Journal of Experimental Psychology: Human Perception and Performance, 24, 791-811.

Repp, B. H. (1998d). A microcosm of musical expression: I. Quantitative

analysis of pianists' timing in the initial measures of Chopin's Etude in E major. Journal of the Acoustical Society of America, 104, 1085-1100.

Repp, B. H. (1998e). Musical motion in perception and performance. In D. A.

Rosenbaum & C. E. Collyer (eds.), Timing of behavior: Neural, computational, and psychological perspectives (pp. 125-144). Cambridge, MA: MIT Press.

Repp, B. H. (1998f). Review of The Aesthetics of Music by Roger Scruton.

Music Perception, 15, 412-422.

Repp, B. H. (1998g). Review of Controlling Creative Processes, edited by R.

Kopiez and W. Auhagen. Psychology of Music, 26, 211-220.

Repp, B. H. (1999a). A microcosm of musical expression: II. Quantitative

analysis of pianists' dynamics in the initial measures of Chopin's Etude in E major. Journal of the Acoustical Society of America, 105, 1972-1988.

Repp, B. H. (1999b). Detecting deviations from metronomic timing in music:

Effects of perceptual structure on the mental timekeeper. Perception & Psychophysics, 61, 529-548.

Repp, B. H. (1999c). Control of expressive and metronomic timing in pianists.

Journal of Motor Behavior, 31, 145-164.

Repp, B. H. (1999d). Effects of auditory feedback deprivation on expressive

piano performance. Music Perception, 16, 409-438.

Repp, B. H. (1999e). A matter of life and death. [Comments on Music in the Moment by Jerrold Levinson.] Music Perception, 16, 480-485.

Repp, B. H. (1999f). A microcosm of musical expression: III. Contributions of

timing and dynamics to the aesthetic impression of pianists' performances of the initial measures of Chopin's Etude in E major. Journal of the Acoustical Society of America, 106, 469-478.

Repp, B. H. (1999g). Relationships between performance timing, perception of

timing perturbations, and perceptual-motor synchronization in two Chopin preludes. Australian Journal of Psychology, 51, 188­203.

Repp, B. H. (1999h). Individual differences in the expressive shaping of a

musical phrase: the opening of Chopin's Etude in E major. In S. W. Yi (ed.), Music, mind, and science (pp. 239­270). Seoul, Korea: Seoul National University Press.

Repp, B. H. (1999i). Review of The Psychology of Music (Second Edition),

edited by Diana Deutsch. Musicae Scientiae, 3, 269­276.

Repp, B. H. (1999j). Manfred Clynes, pianist. In A Festschrift for Manfred

Clynes (pp. 70­84). St. Louis, MO: MMB Music.

Repp, B. H. (2000a). Compensation for subliminal timing perturbations in

perceptual-motor synchronization. Psychological Research, 63, 106­128.

Repp, B. H. (2000b). Subliminal temporal discrimination revealed in

sensorimotor coordination. In P. Desain & L. Windsor (eds.), Rhythm Perception and Production (pp. 129­142). Lisse, The Netherlands: Swets and Zeitlinger.

Repp, B. H. (2000c). Pattern typicality and dimensional interactions in pianists'

imitation of expressive timing and dynamics. Music Perception, 18, 173­211. [Music examples]

Repp, B. H. (2000d). The timing implications of musical structures. In D. Greer

(ed.), Musicology and sister disciplines: Past, present, and future (pp. 60­70). Oxford, U.K.: Oxford University Press.

Repp, B. H. (2001a). Phase correction, phase resetting, and phase shifts after

subliminal timing perturbations in sensorimotor synchronization. Journal of Experimental Psychology: Human Perception and Performance, 27, 600-621.

Repp, B. H. (2001b). Effects of music perception and imagery on sensorimotor

synchronization with complex timing patterns. In R. J. Zatorre & I. Peretz (Eds.), The biological foundations of music. Annals of the New York Academy of Sciences, Vol. 930, pp. 409-411.

Repp, B. H. (2001c). Processes underlying adaptation to tempo changes in

sensorimotor synchronization. Human Movement Science, 20, 277-312.

Repp, B. H. (2001d). Expressive timing in the mind's ear. In R.-I. Godøy & H.

Jørgensen (Eds.), Elements of musical imagery (pp. 185-200). Lisse, The Netherlands: Swets & Zeitlinger.

Chen, Y., Repp, B. H., & Patel, A. D. (2002). Spectral decomposition of

variability in synchronization and continuation tapping: Comparisons between auditory and visual pacing and feedback conditions. Human Movement Science, 21, 515-532.

Repp, B. H. (2002a). The embodiment of musical structure: Effects of musical

context on sensorimotor synchronization with complex timing patterns. In W. Prinz & B. Hommel (Eds.), Common mechanisms in perception and action: Attention and Performance XIX (pp. 245-265). Oxford, U.K.: Oxford University Press. (See Appendix)

Repp, B. H. (2002b). Automaticity and voluntary control of phase correction

following event onset shifts in sensorimotor synchronization. Journal of Experimental Psychology: Human Perception and Performance, 28, 410-430.

Repp, B. H. (2002c). Phase correction in sensorimotor synchronization:

Nonlinearities in voluntary and involuntary responses to perturbations. Human Movement Science, 21, 1-37.

Repp, B. H. (2002d). Phase correction following a perturbation in sensorimotor

synchronization depends on sensory information. Journal of Motor Behavior, 34, 291-298.

Repp, B. H. (2002e). Perception of timing is more context sensitive than

sensorimotor synchronization. Perception & Psychophysics, 64, 703-716. (See Appendix)

Repp, B. H., & Penel, A. (2002). Auditory dominance in temporal processing:

New evidence from synchronization with simultaneous visual and auditory sequences. Journal of Experimental Psychology: Human Perception and Performance, 28, 1085-1099.

Repp, B. H., & Saltzman, E. L. (2002). Influences of metrical structure and

grouping on the kinematics of rhythmic finger tapping. Unpublished manuscript.

Repp, B. H., Windsor, L., & Desain, P. (2002). Effects of tempo on the timing

of simple musical rhythms. Music Perception, 19, 565-593.

Repp, B. H. (2003a). Phase attraction in sensorimotor synchronization with

auditory sequences: Effects of single and periodic distracters on synchronization accuracy. Journal of Experimental Psychology: Human Perception and Performance, 29, 290-309.

Repp, B. H. (2003b). Rate limits in sensorimotor synchronization with auditory

and visual sequences: The synchronization threshold and the benefits and costs of interval subdivision. Journal of Motor Behavior, 35, 355-370.

Keller, P. E., & Repp, B. H. (2004). When two limbs are weaker than one:

Sensorimotor syncopation with alternating hands. Quarterly Journal of Experimental Psychology, 57A, 1085-1101.

Repp, B. H. (2004a). Comments on "Rapid motor adaptions to subliminal

frequency shifts during syncopated rhythmic sensorimotor synchronization" by Michael H. Thaut and Gary Kenyon (Human Movement Science, 22 [2003], 321-338). Human Movement Science, 23, 61-77.

Repp, B. H. (2004b). On the nature of phase attraction in sensorimotor

synchronization with interleaved auditory sequences. Human Movement Science, 23, 389-413.

Repp, B. H. (2004c). Effects of phase perturbations on unimanual and

alternating bimanual synchronization with auditory sequences. Unpublished manuscript.

Repp, B. H., & Keller, P. E. (2004). Adaptation to tempo changes in

sensorimotor synchronization: Effects of intention, attention, and awareness. Quarterly Journal of Experimental Psychology, 57A, 499-521.

Repp, B. H., & Knoblich, G. (2004). Perceiving action identity: How pianists

recognize their own performances. Psychological Science, 15, 604-609.

Repp, B. H., & Penel, A. (2004). Rhythmic movement is attracted more

strongly to auditory than to visual rhythms. Psychological Research, 68, 252-270.

Resnicow, J. E., Salovey, P., & Repp, B. H. (2004). Is recognition of emotion

in music performance an aspect of emotional intelligence? Music Perception, 22, 145-158. [Music examples]

Keller, P. E., & Repp, B. H. (2005). Staying offbeat: Sensorimotor syncopation

with structured and unstructured auditory sequences. Psychological Research, 69, 292–309.

Repp, B. H. (2005a). Rate limits of on-beat and off-beat tapping with simple

auditory rhythms: 1. Qualitative observations. Music Perception, 22, 479–496.

Repp, B. H. (2005b). Rate limits of on-beat and off-beat tapping with simple

auditory rhythms: 2. The role of different kinds of accent. Music Perception, 23, 167–189.

Repp, B. H. (2005c). Sensorimotor synchronization: A review of the tapping

literature. Psychonomic Bulletin & Review, 12, 969–992.

Patel, A. D., Iversen, J. R., Chen, Y., & Repp, B. H. (2005). The influence of

metricality and modality on synchronization with a beat. Experimental Brain Research, 163, 226–238.

Repp, B. H., London, J., & Keller, P. E. (2005). Production and synchronization

of uneven rhythms at fast tempi. Music Perception, 23, 61–78.

Repp, B. H. (2006a). Does an auditory distractor sequence affect self-paced

tapping? Acta Psychologica, 121, 81–107.

Repp, B. H. (2006b). Does an auditory perceptual illusion affect on-line

auditory action control? The case of (de)accentuation and synchronization. Experimental Brain Research, 168, 493–504.

Repp, B. H. (2006c). Musical synchronization. In E. Altenmüller, M.

Wiesendanger, & J. Kesselring (Eds.), Music, motor control, and the brain (pp. 55–76). Oxford, UK: Oxford University Press.

Repp, B. H. (2006d). Rate limits of sensorimotor synchronization. Advances in

Cognitive Psychology (http://ac-psych.org/), 2, 163-181.

Keller, P. E., Knoblich, G., & Repp, B. H. (2007). Pianists duet better when they

play with themselves: On the possible role of action simulation in synchronization. Consciousness and Cognition, 16, 102-111.

Repp, B. H. (2007a). Hearing a melody in different ways: Multistability of

metrical interpretation, reflected in rate limits of sensorimotor synchronization. Cognition, 102, 434-454.

Repp, B. H. (2007b). Perceiving the numerosity of rapidly occurring auditory

events in metrical and non-metrical contexts. Perception & Psychophysics, 69, 529-543.

Repp, B. H., & Doggett, R. (2007). Tapping to a very slow beat: A comparison

of musicians and non-musicians. Music Perception, 24, 367-376.

Repp, B. H., & Knoblich, G. (2007a). Action can affect auditory perception.

Psychological Science, 18, 6-7.

Repp, B. H., & Knoblich, G. (2007b). Toward a psychophysics of agency:

Detecting gain and loss of control over auditory action effects. Journal of Experimental Psychology: Human Perception and Performance, 33, 469-482.

Repp, B. H. (2008). Multiple temporal references in sensorimotor

synchronization with metrical auditory sequences. Psychological Research, 72, 79-98.

(Last updated: November 26, 2007)