Our brain codes the features of perceptual events in a distributed fashion, raising the question of how information belonging to one event is processed without any interference of features from other events. Hommel (1998) suggested the "event file" concept to elucidate these mechanisms: an episodic memory trace "binding" together perceptual features and actions related to an object. Using a similar paradigm, we designed a pilot experiment and four additional experiments to investigate whether emotion, similarly than perceptual features, could bind with a motor response when the emotion was relevant and irrelevant for the task. Few studies have revealed this to be the case. We investigated how angry and fearful faces expressed by avatars and humans might be subject to a binding phenomenon. Our results show that at least three degrees of visuomotor binding seem to coexist: one implicating the relevant feature of the task with a strong effect on behavior, another implicating the location with a smaller behavioral effect (even if not task related), and a third implicating non-task-related features with behavioral effects only under specific conditions in which emotion could play a role. Our adaptation of Hommel's paradigm showed that emotional percepts can be subject to visuomotor binding effects even if the emotion is not task related confirming the important role of emotional information for the central nervous system. These findings offer new perspective in the investigation of the emotion-action binding at the neuronal level.

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True absolute pitch (AP), labeling of pitches with semitone precision without a reference, is classically studied using isolated tones. However, AP is acquired and has its function within complex dynamic musical contexts. Here we examined event-related brain responses and underlying cerebral sources to endings of short expressive string quartets, investigating a homogeneous population of young highly trained pianists with half of them possessing true-AP. The pieces ended regularly or contained harmonic transgressions at closure that participants appraised. Given the millisecond precision of ERP analyses, this experimental plan allowed examining whether AP alters music processing at an early perceptual, or later cognitive level, or both, and which cerebral sources underlie differences with non-AP musicians. We also investigated the impact of AP on general auditory cognition. Remarkably, harmonic transgression sensitivity did not differ between AP and non-AP participants, and differences for auditory cognition were only marginal. The key finding of this study is the involvement of a microstate peaking around 60 ms after musical closure, characterizing AP participants. Concurring sources were estimated in secondary auditory areas, comprising the planum temporale, all transgression conditions collapsed. These results suggest that AP is not a panacea to become a proficient musician, but a rare perceptual feature.

This study explores a unique experimental protocol that evaluates how a musician's sensitivity to social context during performance can be analysed through a combination of behavioral analysis, self-report and Immersive Virtual Environment (IVE). An original application has been developed to create audience of avatars that display different motivational states that are known to affect musician's performance. The musicians' body expressions have then been recorded through a motion capture system and analysed as they relate to audience motivational state. The musician subjective experience has been captured after each performance through semi-structured interviews. Preliminary results depict the strategies implicitly employed by four expert violinists during their performances under the various contexts (empty room and engaged and disengaged audience of avatars). Finally, this study discusses the way to improve methodology, analyses and real-world responses to musician's needs.