2007
DOI: 10.1016/j.concog.2005.12.004
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Pianists duet better when they play with themselves: On the possible role of action simulation in synchronization

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Cited by 190 publications
(180 citation statements)
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References 22 publications
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“…These findings are consistent with the hypothesis that people use internal forward models to predict not only the outcomes of their own actions but also those of their coperformersʼ actions when they perform joint actions together (Keller, Knoblich, & Repp, 2007;Knoblich & Jordan, 2003;Wolpert, Doya, & Kawato, 2003). Further support for this interpretation is gained by comparing the current results to those of Maidhof et al (2009), who showed that the FRN in response to altered auditory outcomes was larger when pianists produced the musical sequences themselves compared with when they merely heard the sequences.…”
Section: Frnsupporting
confidence: 81%
“…These findings are consistent with the hypothesis that people use internal forward models to predict not only the outcomes of their own actions but also those of their coperformersʼ actions when they perform joint actions together (Keller, Knoblich, & Repp, 2007;Knoblich & Jordan, 2003;Wolpert, Doya, & Kawato, 2003). Further support for this interpretation is gained by comparing the current results to those of Maidhof et al (2009), who showed that the FRN in response to altered auditory outcomes was larger when pianists produced the musical sequences themselves compared with when they merely heard the sequences.…”
Section: Frnsupporting
confidence: 81%
“…Moreover, heavy drinkers have higher synchronization in γ band [1]. However, an optimal brain function has a high synchronization which is different from the increase coherence of alcoholics [5]. In fact, increasing coherence on alcoholics is also in contrast to the study on a public 61-channels EEG alcoholics dataset with two electrooculogram (EOG) signals.…”
Section: Introductioncontrasting
confidence: 39%
“…The sight of others' gestures may also influence our understanding about music. Our responsiveness to movement (67)(68)(69) and emotional expression (62,63,70) may underlie the intuition that musicians' motions and emotions represent exceptional performance. Future work will be needed to test not only our perceptions of performers, but also the emotions evoked in audiences, to better understand the affective contributions to the primacy of visual cues in the judgment of performance.…”
Section: Resultsmentioning
confidence: 99%