“…The ability to play the piano with a variety of timbres requires a performer to have advanced pianistic skills. Little is known about how these skills are acquired and developed in piano lessons and what the role is of elements such as concepts, technique, sonic outcomes, and bodily movements. …”
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“…We designed an fMRI experiment in which professional pianists and non-musicians discriminated between two sequences of rhythms presented auditorily (series of sounds) or visually (series of flashes). …”
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“…In this study, we examined the structural features of unconstrained musical improvisations generated by jazz pianists in response to emotional cues. We hypothesized that musicians would not utilize any universal rules to convey emotions, but would instead combine heterogeneous musical elements together in order to depict positive and negative emotions. …”
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“…This confirms the role of this region in the development of similar expert brains characterized by learning dexterous skills, such as pianists, rock climbers and basketball players. However, the nature of the cellular events underlying the detected morphological differences remains an open question.…”
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“…We used the attention network test (ANT) to compare the performance of the alerting, orienting and executive attentional networks of professional pianists against a matched group of non-musician adults. …”
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“…We combined music production with multimodal neuroimaging to dissociate high-level structural and low-level motor planning. Pianists played novel musical chord sequences on a muted MR-compatible piano by imitating a model hand on screen. …”
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“…We employed a framework based on graph theory to depict the connectivity and efficiency of structural networks in the brain, based on diffusion‐weighted images obtained from 35 vocalists, 27 pianists, and 33 nonmusicians. Our results revealed that musical training (both voice and piano) could enhance connectivity among emotion‐related regions of the brain, such as the amygdala. …”
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“…Crucially, while string players had greater IHI than non-musicians and showed a positive structure-function relationship, the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. …”
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“…Here we determined the attributes of inter-individual differences in the maximum rate of repetitive piano keystrokes in twenty-four pianists. Among various representative factors of neuromuscular functions, anatomical characteristics, and training history, a stepwise multiple regression analysis and generalized linear model identified two predominant predictors of the maximum rate of repetitive piano keystrokes; finger tapping rate and muscular strength of the elbow extensor. …”
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“…The purpose was to evaluate the interexaminer reliability of experienced and inexperienced examiners on location and classification of myofascial trigger points (MTrPs) in two epicondylar muscles and the association between the MTrP found and the diagnosis of lateral epicondylalgia (LE). Fifty-two pianists (some suffered LE) voluntarily participated in the study. …”
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“…Four groups of musicians (drummers, singers, pianists, string players) and a control group of non-musicians were tested. …”
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“…Violin duos synchronized more successfully than either piano duos or piano–violin duos, possibly because violinists were more experienced in ensemble playing than pianists. Peak acceleration indicated beat position in leaders’ head-nodding gestures. …”
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“…The novel task was validated by similar measures of spontaneous rates generated by piano performance and by the tapping task from the same pianists. We then implemented the novel task with musicians and non-musicians as they synchronized tapping of a familiar melody with a metronome at their spontaneous rates, and at rates proportionally slower and faster than their spontaneous rates. …”
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“…We then test the new system on practice sessions of pianists of varying levels of expertise ranging from novice to expert. …”
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“…A key question in bimanual motor control research is whether bimanual movements are produced by combining unimanual controllers or through a dedicated bimanual controller. Here, 34 expert pianists performed musical scale playing movements with the left or right hand alone and with both hands simultaneously. …”
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“…Thirty professional pianists sight-read four musical pieces with two different complexities and playing tempi. …”
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“…A total of 40 trained pianists performed a simple melody containing fermatas (notated expressive pauses of unspecified duration) first alone (Solo) and then with a partner (Duet) while electroencephalography (EEG) was recorded. …”
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“…In our study, dyads of professional jazz pianists improvised in a “coupled,” mutually adaptive condition, and an “overdubbed” condition that precluded mutual adaptation, as occurs in common studio recording practices. …”
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“…To study the role of auditory feedback in learning, 115 students (56 guitarists, 59 pianists) at the beginner, intermediate and advanced levels were recruited. …”
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