ABSTRACT
A longstanding issue in both music cognition research and in human movement research has been that of segmentation, that is, of how authors divide continuous streams of sound or movement into units. In author's research on musical gestures, they talk of gestural-sonic objects in the sense of units based on the convergence of sound and movement into holistically perceived chunks. Co-articulated gestural-sonic objects are conceived of as units with regards to both perception and motor control, and thus concern basic issues of music perception, music cognition and movement science, in particular the relationship between continuity and discontinuity in author's experiences of musical sound and gestures. It could thus be useful to first review some notions of chunking and of music-related gestures before having a closer look at co-articulation in the production and perception of musical sound. Clearly, coarticulatory anticipation is readily observable in various instrumental performances.
