Table 3.

The Table illustrates, per each melody, what a sequence with Action- and Goal-Errors looked like.

Each melody included 4 subsequent notes: the partner always played the first and third ones, while the participant played the second and fourth ones. Per each melody, the first and second notes are reported in the top row of the cell (first half of the melody, which constitutes a trial), and the third and fourth ones in the bottom raw (second half of the melody, which constitutes another trial). If a partner’s error occurred in the melody, it was present both when the partner played the first and the third notes. The association between each color cue (shown on the left, next to each melody) and the specific melody was counterbalanced between participants. Importantly, as shown in the summary table below, the Matching-/Not-Matching with correction factor was not systematically associated to perceptually congruent or incongruent actions or notes. Indeed, the Matching condition included trials with congruent notes and incongruent movements in the case of Action-Errors, and incongruent notes and congruent movements in Goal-Errors. On the contrary, the Not-Matching condition included trials with incongruent notes and congruent movements in Action-Errors, and congruent notes and incongruent movements in Goal-Errors. Thus, the main effect of Matching- versus Not-Matching, which was equally present in Action- and Goal-Error trials, cannot be accounted for by the physical congruence between the partner’ and the participant’s actions performed at each trial.