Phase-locked loops

I was listening to Henryk Szeryng's performance of Beethoven's Sonata No. 7, with pianist James Tocco, at the 1979 Salzburg Festival.  And I was thinking about electronic circuits at the same time.  Then an obvious fact dawned on me that musicians in an ensemble constantly employ feedback processes to stay in sync—not unlike a phase-locked loop.

Now I know why I can't count when I play the violin with a pianist.  My phase-locked loop is broken, sometimes a sort of positive feedback results: difficult passages in which the piano part gallops through many notes (supposedly steadily) makes me nervous and speed up, causing instability.