CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)最新文献

{"title":"Playing no solo imagination","authors":"Paul Abbott","doi":"10.2218/cim22.1a12","DOIUrl":"https://doi.org/10.2218/cim22.1a12","url":null,"abstract":"","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"117 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82705860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Singing in the pandemic: A small-scale study on musical experiences of university choristers in Hong Kong and the United Kingdom during the COVID-19 pandemic","authors":"Kari Ding","doi":"10.2218/cim22.1a49","DOIUrl":"https://doi.org/10.2218/cim22.1a49","url":null,"abstract":"Disciplinary background A. In the discipline of singing physiology, mask-wearing, a commonly adapted practice in choirs during the COVID-19 pandemic, not only adds burden to breathing but also negatively affects resonance and articulation. Disciplinary background B. In the field of musical psychology, singing as a choral group enhances both physical and emotional sense of belonging of singers. Abstract The aim of the study is to identify any possible impacts of mask-wearing on the experience of singing in a choir. From a scientific perspective, it is known that mask-wearing negatively impacts choristers by affecting their breathing, resonance and articulation . However, there are very limited studies asking if choristers really think so. It is also uncertain whether, if choristers feel the difficulties brought by mask-wearing, these difficulties will affect other aspects of their musical experience. To investigate this issue, a questionnaire was distributed to choristers singing in University choirs in both Hong Kong and the United Kingdom. They are invited to comment on their musical experience of singing with and without masks by giving number scores of a scale of 5. The collected data are processed in order to identify any statistical significance. It is found that the concerned choristers’ musical experiences was not significantly affected by mask-wearing. Despite the small sample size and the imbalance ratios regarding sex and nationality, it seems that sex and nationality do not significantly contribute to choristers’ opinion on singing with masks. However, statistics hint that the the doubt of mask-wearing’s anti-pandemic effect may be related to the physical challenges brought by mask-wearing. Despite the findings mentioned above, it is realized that the sample size of the present study is small, and the gender and nationality of the participants are imbalanced. This implies that the statistical findings may be obtained by chance or be influenced by extreme data. Nevertheless, the present study should serve as an insight for future studies to explore more about the phenomenon of singing with masks. Interdisciplinary","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83348798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Collectively Classical: Social connection at a classical concert","authors":"Dana Swarbrick, F. Rosas, J. Vuoskoski","doi":"10.2218/cim22.1a53","DOIUrl":"https://doi.org/10.2218/cim22.1a53","url":null,"abstract":"Disciplinary background A. This research is primarily situated in the discipline of music cognition. This research project aims to understand the influence of musical piece and listening context on the audience's perception of a classical music concert. Disciplinary background B. This research is also situated in the disciplines of social psychology and emotion science. We aim to understand the outcomes of social connectedness and the emotion of feeling moved. Abstract We aimed to examine the difference between live and livestreamed concerts, the influence of musical piece, and participant characteristics such as empathy and fan-status on audience social connectedness and feeling moved. Concerts are fundamentally social experiences in which an audience and musicians gather to witness and create an aesthetic experience. Concerts and the music featured there may facilitate connectedness and the sociorelational emotion kama muta (frequently labelled “feeling moved”) through a variety of mechanisms. Recent research suggests that in virtual concerts, both concert characteristics (e.g. liveness, technological platform) and individual characteristics (e.g. empathy, loneliness, concentration) influence feelings and behaviours associated with social connectedness (Swarbrick et al., 2021; Onderdijk, Swarbrick et al., 2021). Social bonding during collective music listening has previously been demonstrated in the context of dance (Tarr et al., 2016). Questions remain on how concert and personal characteristics influence social connectedness at a live concert and how the effects of live and virtual concerts differ. MusicLab Copenhagen was a concert experiment in which the Danish String Quartet performed to a live (n = 91) and a livestreaming audience (n = 45). Participants responded to questions on their personal characteristics and their social and emotional concert experiences using a questionnaire in response to three distinct pieces of music. Specifically, participants reported feelings of social connectedness that they felt towards the performers and the other audience members, and they responded to the kama muta scale","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79189724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"We do opera!\" Participation in German opera houses: institutional strategy and aesthetic concepts","authors":"Ulrike Hartung","doi":"10.2218/cim22.1a36","DOIUrl":"https://doi.org/10.2218/cim22.1a36","url":null,"abstract":"Disciplinary background A. My research has its origin in performance studies understanding opera and music theatre as performative phenomenon – with special consideration of instrumental and vocal practice. Disciplinary background B. Exploring contemporary music theatre practice in Germany, I see a necessity to involve theories and methods of social sciences and educational theory to fully understand institutional influence on aesthetic products and production. Abstract Based on concrete examples, this paper will elaborate on participatory practices between the agenda of cultural policy, audience development goals and everyday practice of German music theatre houses within the context of urban society. State funded opera houses in Germany are becoming increasingly a target of public criticism. The combination of certain factors – for example diversification of urban audiences, digitalization, changes in aesthetic demands etc. – raises questions of institutional legitimacy and thus a certain state of crisis. My research has shown that opera houses develop systematic strategies to counter these kinds of transformative powers on the one hand and the related fundamental institutional criticism on the other: participatory formats can be determined as one of these strategies. Participatory formats can not only be seen as an artistic development within the portfolio of events that music theatre houses offer in addition to its main events, i.e. opera performances, but also as strategic action to gain new audiences, meet cultural-political demands and generally opening up to a divers urban society. What measures are being developed and in what way do these measures raise questions of actually cultural participation? How can these measures be realized within the structural and aesthetic requirements of an opera house?","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82487900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Proceedings of CIM22: 'Participation' (Single document PDF)","authors":"Nikki Moran, Youn Kim","doi":"10.2218/cim22.1p1","DOIUrl":"https://doi.org/10.2218/cim22.1p1","url":null,"abstract":"","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83532554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dissensus, refusal and participatory music: Negation and rupture in Crowd in C","authors":"Eric Lemmon","doi":"10.2218/cim22.1a31","DOIUrl":"https://doi.org/10.2218/cim22.1a31","url":null,"abstract":"In this paper, I will explore the formal, micro-political, and typically consensus-based space that participatory music works engender by analyzing Crowd in C by Sang Won Lee. Taking its moniker from Terry Riley’s well-known minimalist work, Crowd in C is a web-based instrument, computer music system, and participatory work of music that encourages social interaction by offering audience members the option to create and modify their own melodies through a simple graphical user interface (GUI). Focusing on the audio-visual documentation and the work’s codebase, I will analyse participant actions by applying Jacques Rancière’s logic of emancipation to the micropolitical and normative space of Crowd in C and show how these moments and actions evoke a theory of dissensus. Finally, I argue that the established framework for sensing and sense-making in this space can be ruptured by musical and political processes.","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"175 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73255103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Media, virtuality, and participation in musical creativity of the Young Cracow Composers","authors":"Agnieszka Draus","doi":"10.2218/cim22.1a43","DOIUrl":"https://doi.org/10.2218/cim22.1a43","url":null,"abstract":"Disciplinary background A. The starting point for the subject of Media, Virtuality, and Participation in Musical Creativity of the Young Cracow Composers will be the widely understood study of the art of composition and musical reflection: musicology / composition / music theory including many humanist-oriented interdisciplinary organic contexts. Disciplinary background B. The selected compositions will be presented in the broad context of contemporary generative art and performative strategies such as visualisation, theatricalization and semantisation, or performative categories such as vocality (tonality), corporeality and spatiality. The paper will therefore also fit into the realm of performance studies. Abstract The main aim of the paper will be to present selected works of young composers (in collaboration with performers, dancers or choreographers), among whom the neo-avant-garde aesthetics, post-internet art, new conceptualism or the idea of conscious music or relational music are currently in vogue, and most often, again, multimedia performance (after its peak in the 1960s and 1970s) as a frequent and laden medium of expression.","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77202447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Machinic rhythms: Improvisational systems and more-than-human participation","authors":"Iain Campbell","doi":"10.2218/cim22.1a38","DOIUrl":"https://doi.org/10.2218/cim22.1a38","url":null,"abstract":"Disciplinary background A. The first disciplinary background is philosophy of technology. My academic background is in continental philosophy, and my recent research, as part of the research project 'The Future of Indeterminacy: Datification, Memory, Bio-Politics', has been increasingly concerned with how the study of technology and digital cultures contributes to a rethinking of themes of action and perception across biological and technological boundaries. Disciplinary background B. The second disciplinary background is improvisation studies. I have a long-standing interdisciplinary interest in experimental music and philosophy, and I have developed this in a recent collaboration with the composer and theorist Professor Peter Nelson (University of Edinburgh). Abstract This paper aims to bring recent philosophical and interdisciplinary research on technology to bear on practices of improvising with non-human, technological partners. It addresses two examples in the historical work of David Behrman and the ongoing work of George E. Lewis in order to highlight some key features of what it means to participate in more-than-human improvisational situations. In this paper I reflect on the interactive computer-based improvisational music systems of David Behrman and George E. Lewis to ask questions of what it means to participate in an improvisation – questions including, Who or what are the participants here? How can we understand their ‘entanglement’ and what constitutes their relations? What does it mean to act in such an entanglement? How do the participants negotiate with their partners in the improvising situation? I examine the system set up by Behrman for pieces including the evocatively-titled Interspecies Smalltalk (1984), performed with the violinist Takehisa Kosugi, and Lewis’s constantly evolving Voyager software (1987- ), and draw from recent theorisations of more-than-human and distributed perception in order to give an account of the complex, diverse, intersubjective, multi-scalar relations that are enacted in the improvising situations these works take place through. In particular I work with a semiotic notion of ‘rhythm’ that I have recently developed with the composer and theorist Peter Nelson, drawing from performance studies and the philosophy and theory of time, in order to reflect","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"123 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73061597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Can We Dance? Considering the role and meaning of music in videogames through \"thinking in movement\"","authors":"Oskari Koskela, Kai Tuuri, Jukka Vahlo","doi":"10.2218/cim22.1a27","DOIUrl":"https://doi.org/10.2218/cim22.1a27","url":null,"abstract":"Disciplinary background A. Ludomusicology. Videogame music is typically experienced as embedded in the game and activity of gaming. However, the research on videogame music, or ludomusicology, has mostly adopted approaches from traditional musicology, treating music fundamentally as a text with certain function and meaning in accordance with the narrative and mechanics of the game (e.g., Summers, 2016). While the interactive and crossmodal nature of game music has also been acknowledged (e.g., Collins, 2013) there is still a need for theoretical perspectives to account for the integration of game and its music in the experience. Disciplinary background B. Human-computer interaction (HCI). In the field of HCI a crucial concern has been the development of approaches that take into account the bodily engagement involved in the interaction with technology. One proposal is the choreography-based approach to interaction, which foregrounds the dynamics of the movement as the source of meaning and the way our actions are organized by technologies (Parviainen et al., 2013). Abstract The aim of this presentation is to provide a theoretical analysis of the gameplay experience following the choreography-based approach outlined within HCI and to consider the role and meaningfulness of videogame music in accordance with this perspective of gaming as dancelike participation in the game. Videogame music describes a category of music in which music is not the sole focus of attention but rather embedded into a particular context of game and activity of gaming. With respect to this embeddedness, an important question is how to investigate videogame music in a manner that approaches the experience of videogame music as inherently entwined with the gameplay. We suggest that one problem is a lack of overarching perspective that taps into the common ontological framework underlying both music and games. In this paper, we aim to provide such a common framework by considering music and gameplay fundamentally as activities. We begin by framing the gameplay through the metaphor of dance (see Kirkpatrick, 2011) and applying the choreographic-based","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"108 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76144449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Signification system as artificial intelligence","authors":"Misty Choi","doi":"10.2218/cim22.1a19","DOIUrl":"https://doi.org/10.2218/cim22.1a19","url":null,"abstract":"","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73875245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}