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performance of polyphonic music (Unpublished doctoral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.