Determining when a partner’s spoken or musical turn will end requires well-honed predictive abilities. Evidence suggests that our motor systems are activated during perception of both speech and music, and it has been argued that motor simulation is used to predict turn-ends across domains. Here we used a dual-task interference paradigm to investigate whether motor simulation of our partner’s action underlies our ability to make accurate turn-end predictions in speech and in music. Furthermore, we explored how specific this simulation is to the action being predicted. We conducted two experiments, one investigating speech turn-ends, and one investigating music turn-ends. In each, 34 proficient pianists predicted turn-endings while (1) passively listening, (2) producing an effector-specific motor activity (mouth/hand movement), or (3) producing a task- and effector-specific motor activity (mouthing words/fingering a piano melody). In the speech experiment, any movement during speech perception disrupted predictions of spoken turn-ends, whether the movement was task-specific or not. In the music experiment, only task-specific movement (i.e., fingering a piano melody) disrupted predictions of musical turn-ends. These findings support the use of motor simulation to make turn-end predictions in both speech and music but suggest that the specificity of this simulation may differ between domains.

确定合作伙伴的口语或音乐回合何时结束需要磨练的预测能力。有证据表明，我们的运动系统在感知语音和音乐的过程中被激活，并且有人认为运动模拟用于预测跨域的转弯结束。在这里，我们使用双任务干扰范式来研究我们合作伙伴动作的运动模拟是否是我们在语音和音乐中做出准确转弯预测的能力的基础。此外，我们探讨了这种模拟对被预测动作的具体程度。我们进行了两项实验，一项调查语音转折，一项调查音乐转折。在每一个中，34 位熟练的钢琴家在 (1) 被动聆听时预测转弯结束，(2) 产生特定于效应器的运动活动（嘴/手运动），或 (3) 产生特定于任务和效应器的运动活动（口述单词/弹奏钢琴旋律）。在语音实验中，语音感知过程中的任何运动都会破坏对口语转折的预测，无论该运动是否针对特定任务。在音乐实验中，只有特定任务的动作（即弹奏钢琴旋律）打乱了音乐转折的预测。这些发现支持使用运动模拟在语音和音乐中进行转弯预测，但表明该模拟的特异性可能因领域而异。只有特定任务的动作（即弹奏钢琴旋律）会打乱对音乐转折的预测。这些发现支持使用运动模拟在语音和音乐中进行转弯预测，但表明该模拟的特异性可能因领域而异。只有特定任务的动作（即弹奏钢琴旋律）会打乱对音乐转折的预测。这些发现支持使用运动模拟在语音和音乐中进行转弯预测，但表明该模拟的特异性可能因领域而异。