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dc.contributor.authorPreissmann, Delphine
dc.contributor.authorCharbonnier, Caecilia
dc.contributor.authorChagué, Sylvain
dc.contributor.authorAntonietti, Jean Philippe
dc.contributor.authorLlobera, Joan
dc.contributor.authorAnsermet, Francois
dc.contributor.authorMagistretti, Pierre J.
dc.date.accessioned2016-12-06T08:40:05Z
dc.date.available2016-12-06T08:40:05Z
dc.date.issued2016-10-27
dc.identifier.citationPreissmann D, Charbonnier C, Chagué S, Antonietti J-P, Llobera J, et al. (2016) A Motion Capture Study to Measure the Feeling of Synchrony in Romantic Couples and in Professional Musicians. Frontiers in Psychology 7. Available: http://dx.doi.org/10.3389/fpsyg.2016.01673.
dc.identifier.issn1664-1078
dc.identifier.doi10.3389/fpsyg.2016.01673
dc.identifier.urihttp://hdl.handle.net/10754/621946
dc.description.abstractThe feeling of synchrony is fundamental for most social activities and prosocial behaviors. However, little is known about the behavioral correlates of this feeling and its modulation by intergroup differences. We previously showed that the subjective feeling of synchrony in subjects involved in a mirror imitation task was modulated by objective behavioral measures, as well as contextual factors such as task difficulty and duration of the task performance. In the present study, we extended our methodology to investigate possible interindividual differences. We hypothesized that being in a romantic relationship or being a professional musician can modulate both implicit and explicit synchronization and the feeling of synchrony as well as the ability to detect synchrony from a third person perspective. Contrary to our hypothesis, we did not find significant differences between people in a romantic relationship and control subjects. However, we observed differences between musicians and control subjects. For the implicit synchrony (spontaneous synchronization during walking), the results revealed that musicians that had never met before spontaneously synchronized their movements earlier among themselves than control subjects, but not better than people sharing a romantic relationship. Moreover, in explicit behavioral synchronization tasks (mirror game), musicians reported earlier feeling of synchrony and had less speed errors than control subjects. This was in interaction with tasks difficulty as these differences appeared only in tasks with intermediate difficulty. Finally, when subjects had to judge synchrony from a third person perspective, musicians had a better performance to identify if they were present or not in the videos. Taken together, our results suggest that being a professional musician can play a role in the feeling of synchrony and its underlying mechanisms. © 2016 Preissmann, Charbonnier, Chagué, Antonietti, Llobera, Ansermet and Magistretti.
dc.description.sponsorshipThis research project has been entirely funded by the Agalma Foundation. The funder had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript.
dc.publisherFrontiers Media SA
dc.relation.urlhttp://journal.frontiersin.org/article/10.3389/fpsyg.2016.01673/full
dc.rightsThis is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/
dc.subjectMirror game
dc.subjectMotion capture
dc.subjectMusicians
dc.subjectQuality of interactions
dc.subjectSubjective feeling
dc.subjectSynchrony
dc.titleA Motion Capture Study to Measure the Feeling of Synchrony in Romantic Couples and in Professional Musicians
dc.typeArticle
dc.contributor.departmentBiological and Environmental Sciences and Engineering (BESE) Division
dc.contributor.departmentBioscience Program
dc.identifier.journalFrontiers in Psychology
dc.eprint.versionPublisher's Version/PDF
dc.contributor.institutionAgalma Foundation, Geneva, Switzerland
dc.contributor.institutionDepartment of Child and Adolescent Psychiatry, Faculty of Medicine, University of Geneva Hospitals, Geneva, Switzerland
dc.contributor.institutionCognitive Science Center, University of Neuchâtel, Neuchâtel, Switzerland
dc.contributor.institutionMedical Research Department, Artanim Foundation, Geneva, Switzerland
dc.contributor.institutionInstitute of Psychology, University of Lausanne, Lausanne, Switzerland
dc.contributor.institutionImmersive Interaction Group, Ecole Polytechnique Fédérale de Lausanne, Lausanne, Switzerland
dc.contributor.institutionBrain Mind Institute, École Polytechnique Fédérale de Lausanne, Lausanne, Switzerland
kaust.personMagistretti, Pierre J.
refterms.dateFOA2018-06-14T04:58:14Z


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This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
Except where otherwise noted, this item's license is described as This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.