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Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.

Tone pairs constructed with the frequencies of the overtones moving in opposition to the missing fundamental frequencies they imply, produce expertise differences in the tracking of pitch direction. One interpretation of this result is that it arises as a function of rudimentary differences in the perceptual systems of musicians and non-musicians. Several experiments suggest instead a more embodied source of expertise to be found in vocal mediation such that the effect of musical experience in these tasks is the result of the most salient action of musicians: making sound.