Federico,
Regarding timing synchronization in music performance, the work of Rudolph Rasch is especially pertinent.
If you're not already aware, the performance research from Sundberg and colleagues at KTH offers a wealth of information. Additional work listed below.
-David Huron
Bjurling, J. (2007). Timing in Piano Music: A Model of Melody Lead. Skolan för datavetenskap och kommunikation, Kungliga Tekniska högskolan.
Goebl, W. (2001). Melody lead in piano performance: Expressive device or artifact?. The Journal of the Acoustical Society of America, 110(1), 563-572.
Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of the Acoustical Society of America, 31(6), 759–767.
Holmes, S. D., & Roberts, B. (2006). Inhibitory influences on asynchrony as a cue for auditory segregation. Journal of Experimental Psychology: Human Perception and Performance, 32(5), 1231.
Llorens, A. (2017). Recorded asynchronies, structural dialogues: Brahms's Adagio Affettuoso, Op. 99ii, in the hands of Casals and Horszowski. Music Performance Research, 8.
McGookin, D. K., & Brewster, S. A. (2004). Understanding concurrent earcons: Applying auditory scene analysis principles to concurrent earcon recognition. ACM Transactions on Applied Perception (TAP), 1(2), 130-155.
Mellinger, D. K. (1991). Event formation and separation in musical sound (Doctoral dissertation, Department of Computer Science, Stanford University).
Rasch, R. A. (1978). The perception of simultaneous notes such as in polyphonic music. Acustica, 40, 21–33.
Rasch, R. A. (1979). Synchronization in performed ensemble music. Acustica, 43, 121–131.
Rasch, R. A. (1981). Aspects of the perception and performance of polyphonic music (Unpublished doctoral dissertation). Utrecht, Netherlands: Elinkwijk BV.
Rasch, R. A. (1988). Timing and synchronization in ensemble performance. In J. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisa- tion, and composition (pp. 70–90). Oxford: Clarendon Press.
Repp, B. H. (1996). The art of inaccuracy: Why pianists' errors are difficult to hear. Music Perception: An Interdisciplinary Journal, 14(2), 161-183.
Saldanha, E. L., & Corso, J. F. (1964). Timbre cues and the identification of musical instruments. Journal of the Acoustical Society of America, 36, 2021–2026.
Sheft, S. (2008). Envelope processing and sound-source perception. In Auditory perception of sound sources (pp. 233-280). Springer, Boston, MA.