Abstract
Musical events entail crafted serial changes in frequency, intensity, and time that are explicitly patterned to engage attending activities over relatively long periods of time (i.e., versus brief time periods required for single tones). Serial changes vary in salience, with some functioning as accents outlining higher‐order time spans between nonadjacent tones. Accordingly, attending to music must be dynamic and sustained, capable of anticipatory behaviors while continuously reacting and adapting to various serial changes, accented and unaccented. Issues of meter perception and melodic phrasing also mean that attending must be responsive to different time levels marked by accents. Approaches to attending that ground attentional tracking in biological entrainment have potential for describing these aspects of musical listening. They also raise new issues, as illustrated in experiments inspired by entrainment theories; as reviewed here, these address effects of rhythm on time discrimination, time judgments, and responses to melodic changes. Also considered are general issues relating to development of new paradigms, age‐specific preferred rate (i.e., preferred intrinsic periods), and synchronization limits.
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