“…Here, we investigate how the structures of 91 rhythms with nonisochronous onsets (mostly complex, several in unfamiliar time signatures) influence the accuracy, velocity, and timing of taps made by participants attempting to synchronize with these onsets. The onsets were piano-tone cues sounded at a well-formed subset of isochronous cymbal pulses; the latter occurring every 234 ms. …”
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“…The current study investigated the effects of familiarity on interpersonal coordination in piano duos. Skilled pianists were required to play several duets with different partners. …”
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“…The others were either music teachers at schools or string instrumentalists, who had studied the piano at least as a subsidiary subject, and practiced less intensively. …”
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“…Experiment 1 employs synchronization paradigm: 12 MD patients and 25 healthy pianists had to repeatedly play C-major scales in synchrony with a metronome on a MIDI-piano with three auditory feedback conditions: (1) normal feedback; (2) no feedback; (3) constant delayed feedback. …”
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“…Patients learned to play simple finger exercises and familiar children's songs on the piano for 10 sessions of half an hour. Patients first received three individual therapy sessions and then continued in pairs. …”
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“…In a task resembling a barrier-knockdown paradigm, 36 music students trained to perform a wide left-hand interval leap on the piano. Performance at the target distance was tested before and after a 30-min standardized training session. …”
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“…We compared their MMN (preattentive discrimination) and P3a (attention toward salient sounds) to changes in piano tone pitch, timbre, duration, and gaps. Of particular interest was to determine whether singing can facilitate auditory perception and attention of CI children. …”
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“…The patient showed uncontrolled levitation with the right arm while playing the piano and perceived as if her hand had a “mind of its own” which prevented her from playing. …”
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“…A novel musical instrument and biofeedback device was created using electroencephalogram (EEG) posterior dominant rhythm (PDR) or mu rhythm to control a synthesized piano, which we call the Encephalophone. Alpha-frequency (8–12 Hz) signal power from PDR in the visual cortex or from mu rhythm in the motor cortex was used to create a power scale which was then converted into a musical scale, which could be manipulated by the individual in real time. …”
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“…Participants received either 6 months of music training (i.e., individualized piano lessons) or 6 months of visual art training (i.e., individualized painting lessons). …”
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“…The music stimuli consisted of piano excerpts designed to convey the emotion of “peacefulness”. …”
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“…Complete novices, with no musical training, practiced a simple musical sequence on a piano keyboard at different rates. Each novice was assigned to one of four learning conditions designed to manipulate the amount of tempo variability across trials (large or small tempo set) and the schedule of tempo change (randomized or non-randomized order) during practice. …”
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“…We presented 14 patients with BD with current manic, hypomanic, or mixed clinical states and 28 healthy controls sequentially with word triplets containing either a homonym (e.g., “organ”) or a comparable unambiguous word (e.g., “piano”). Participants were instructed to make a decision whether or not the target word was related to the meaning field of the first two words. …”
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“…Included extracurricular lessons were: “keyboard/piano”, “Japanese calligraphy”, “abacus use”, “swimming”, and “foreign language.” …”
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“…The mol­ecular structures of these complexes are quite similar, exhibiting a four-legged piano-stool geometry with trans-disposed carbonyl ligands. …”
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“…Both pieces were set to novel MIDI piano instrumentation and part-writing conventions typical of early nineteenth-century Western classical practices. …”
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“…Both species were tested with consonant and dissonant versions of a previously studied piano melody, and we recorded time spent with each stimulus as a measure of attraction. …”
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“…Although previous studies established clear connections between musicians’ body movements and musical structures (particularly for clarinet, piano or violin performances), no evidence of direct relationships between body movements and the quality of the produced timbre has ever been found. …”
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“…Then, participants trained for 5 consecutive days, 3 to 4 h/d, on a multifinger piano-chord-like task that cannot be performed by compensatory actions of other body parts (e.g., arm). …”
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“…Subsequently, in study 3 we examined the same three framing conditions and included both an unusual excerpt (free jazz) as well as an over-familiar, typical excerpt for comparison (being a repeatedly pre-exposed classical piano piece). Study 3 produced no significant differences in preference ratings between the two historical conditions, although a positive impact of imagination was again evident. …”
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