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

{"title":"Differentiating between terrifying and anxious music in emotion research","authors":"C. Trevor, M. Renner, S. Frühholz","doi":"10.2218/cim22.1a60","DOIUrl":"https://doi.org/10.2218/cim22.1a60","url":null,"abstract":"Disciplinary background A. Evidence from the field of topic theory suggests that “scary” film music is divisible into at least two distinct types described as ombra and tempesta (McClelland, 2014). Ombra describes music written for scenes with ghosts or witches, suspenseful in nature. Tempesta describes music written for stormy, chaotic, terrifying scenes. Disciplinary background B. Studies in neuroscience offer further support for the division of scary music into two subtypes. The brain has different neural networks for terror and anxiety (Adolphs, 2013). These separate networks may be related to the difference in the behaviors these fearful emotions motivate. Abstract This study has two aims: i) the creation of a large database of original film music excerpts that accurately portray terror and anxiety, respectively, and ii) the determination of how music communicates these two different fearful emotions musically and acoustically. This study has produced a new database of music that communicate terror and anxiety called FEARMUS. These highly ecologically valid musical stimuli are useful for research on fear, film music, music and emotion, and emotion research more broadly. The database contains 100 musical excerpts (50 for terror, 50 for anxiety) that are taken from contemporary horror film soundtracks. Each excerpt is 10-30 seconds in length. FEARMUS, along with metadata and emotion rating data collected from 99 participants (66 female, age M = 25.84, SD = 5.84), is available online for use in psychological experiments and music research (https://osf.io/8sjtw/). The study also clarified the musical and acoustic differences between music that communicates terror and music that communicates anxiety through the use of topic theory analyses and acoustic analyses. Terrifying music is frantic, noisy, thundering, and shrill with walls of sound that evoke screams, earthquakes, cars crashing, or animals shrieking. On the other hand, anxious music communicates a sense of impending doom with ponderous marching tempi, held tones, sudden entrances, dynamic swells, and figurations that evoke","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74819767","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":"Public solitude or participatory experience","authors":"J. Toelle","doi":"10.2218/cim22.1a25","DOIUrl":"https://doi.org/10.2218/cim22.1a25","url":null,"abstract":"","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"99 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73854781","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":"Music-colour synaesthesia: Sensorimotor features and synaesthetic experience","authors":"C. Curwen, R. Timmers, A. Schiavio","doi":"10.2218/cim22.1a42","DOIUrl":"https://doi.org/10.2218/cim22.1a42","url":null,"abstract":"Disciplinary background A. Synaesthesia: Music-colour synaesthesia is included under the umbrella term “coloured hearing” (Ward et al., 2006). Although the phenomenon is typically considered to be separate from general cognition, the shared mental processes of synaesthetes and non-synaesthetes (Simner, 2012) suggest that there may be certain similarities and differences that are a matter of degree. It is argued here that music-colour synaesthesia may share a similar grounding in action to general music cognition (Curwen, 2020). Disciplinary background B. Embodied Cognition: General music cognition research has embraced embodied accounts highlighting the importance of an acting body and its engagement in the context of musical emotion, communication, participation and musical creativity (Schiavio et al., 2017, van der Schyff et al., 2018). In contrast to approaches presenting music cognition as a series of internal (i.e., computational, neural) processes and representations, these approaches propose the direct, circular interaction between the agent’s body and its social, cultural, and physical environment (Reybrouck, 2014). Abstract The main aim and objective of this study is to highlight commonalities between mechanisms underlying music-colour synaesthesia and general music cognition, and to demonstrate some forms of music-colour synaesthesia are grounded in action. Two groups (synaesthetes/non-synaesthetes) reported their experience whilst listening to 3 sets of 4 musical excerpts presented in random order:","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81715704","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":"Learning enactivity: Can Alexander Technique-led music training enhance proprioceptual skills and awareness in dyspraxia?","authors":"Flor M. Henderson","doi":"10.2218/cim22.1a39","DOIUrl":"https://doi.org/10.2218/cim22.1a39","url":null,"abstract":"I aim to show how Alexander Technique-led music praxis can increase proprioceptual awareness in dyspraxia. I am a dyspraxic cellist. Dyspraxia (developmental coordination disorder) is a neurodevelopmental disorder like dyslexia and ADHD, and affects visuo-motor coordination, and gross and fine motor skills like those used for playing a musical instrument. A dyspraxic may have decreased musical enactivity– –primarily proprioceptual and visuo-motor embodiment––(Schiavio and van der Schyff 2018, Hayes 2019) and participatory sense-making (Gallagher and Lindgren 2015: 394), but this may be subtle and depend on: the musical activity, instrument, notation, and the individual. I was not identified as dyspraxic until the first year of my music PhD and during my studies I started the cello with a teacher who also teaches Alexander Technique. The enactive account constitutes embodied, embedded and extended knowledge; knowledge dependent on the body, within a socio-cultural context, and arising from co-dependent interactions (Schiavio and van der Schyff 2018, Hayes 2019: 449), which last Gallagher and Lindgren (2015: 394) consider participatory sense-making. Alexander Technique is enactive, focusing on increasing embodiment and reducing physical tension through “a bottom-up sensory-led experiential approach” (Easten 2021: 5) developed in teacher-led interactions. Could this participatory sense-making help me fine-tune proprioceptual-led embodiment in music performance and reduce inhibitory tension? As a dyspraxic","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":"80390593","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":"A queer phenomenology of furniture music: A case study of Alvin Lucier’s I am sitting in a room (1969) as musical furniture","authors":"Lara Balikci","doi":"10.2218/cim22.1a62","DOIUrl":"https://doi.org/10.2218/cim22.1a62","url":null,"abstract":"Disciplinary background A. I am sitting in a room : a statement famously pronounced by the American experimental composer, Alvin Lucier (1931-2021). Perhaps we have not yet fully considered how the room, in some way, also sits with us. How did we come to take up the room in which we sit, how was the room already ready for our arrival, and what do we hear and/or listen to in these spaces? These are some of the questions regarding furniture music (music that is heard but not listened to) that are prompted by feminist scholar, Sara Ahmed’s queer phenomenology (Ahmed, 2006), which is not a phenomenology of queer experience (which is the philosophy of experience or consciousness as it relates to queerness), but rather, a queering of phenomenology. Like Gavin Lee (Lee, 2020), I foreground queer phenomenology as disorientation. Disciplinary background B. Inspired by","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88167475","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":"Control and failure: A framework for analysis of sound oriented intermedia art","authors":"Marcin Strzelecki","doi":"10.2218/cim22.1a52","DOIUrl":"https://doi.org/10.2218/cim22.1a52","url":null,"abstract":"Disciplinary","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"122 6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77308103","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":"Participatory creativity training and creativity self-concepts of students in specialist arts higher education","authors":"Nicola Pennill, Keith Phillips, K. Birdi","doi":"10.2218/cim22.1a10","DOIUrl":"https://doi.org/10.2218/cim22.1a10","url":null,"abstract":"Disciplinary background A. Creativity training and assessment. Considerable progress has been made in the field of creativity research over the last few years in refining the concept of creativity (Plucker et al., 2004), in recognising its importance in a wide range of domains including Higher Education (Park et al., 2020; Ulger, 2018) and in developing creativity enhancement interventions and measures (Kapoor et al., 2021; Said-Metwaly et al., 2017). Disciplinary background B. Training of the entrepreneurial musician. There has been increasing recognition of the need for Higher Music Education (HME) institutions to better equip graduates to manage their future careers, given the uncertainties of the fluid and evolving world of work. In response, some conservatoires have embraced curriculum change toward a greater emphasis on facilitating an entrepreneurial mindset in students but this is not yet the norm in the UK and Europe and it is unclear how this can be most effectively done (Carey & Coutts, 2021). Recent research in entrepreneurship education has foregrounded creativity as a key competence in developing an entrepreneurial mindset (Fillis & Rentscher, 2010). Abstract This research aimed to evaluate the impact of a participatory creativity intervention using acontextual and contextual methods of measurement in students on music, art and speech/drama programmes. This mixed-methods study contributes to understanding of perceptions and development of creativity in creative arts students. An extra-curricular virtual workshop was conducted for undergraduate and postgraduate students from three specialist arts higher education institutions, in the fields of music, visual and dramatic arts. The programme was designed to enable students to work collaboratively in groups on a variety of entrepreneurship and creativity-related tasks over a two-day period. The training was based the CLEAR IDEAS framework for creativity training, drawn from organisational creativity and innovation research (Birdi, 2016). The programme aimed to systematically support skills to better generate ideas (Day 1), and implement them (Day 2). Alongside","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"400 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76324085","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":"The spectator-listeners’ participatory roles in Michel van der Aa’s stage works, Blank Out and Eight","authors":"Inkeri Jaakkola","doi":"10.2218/cim22.1a24","DOIUrl":"https://doi.org/10.2218/cim22.1a24","url":null,"abstract":"Disciplinary background A. From the perspective of musicology, my paper offers examples of how postopera challenges opera’s conventional communication strategy, how it activates the spectator-listener and how it brings the boundary between the genres of art and popular into question. Disciplinary background B. From the perspective of theatre studies, my paper compares postopera with postdramatic theatre. It shows how, instead of illustrating the drama, postopera’s performances create theatrical situations which stimulate the spectator-listeners’ individual processes of interpretation. Abstract My paper discusses the spectator-listeners’ participatory roles in twenty-first-century postopera. As oppose to conventional drama opera, in which the music and actions on stage primarily illustrate the written script, postopera combines various theatrical elements such as stage actions, music, film as well as verbal and visual elements, into performances without fixed meanings – thus, evoking the spectator-listeners’ individual readings. In a larger context, the involvement of spectator-listeners can be linked to the democratisation of the art world. To clarify the audience’s participatory role in postopera, I introduce Michel van der Aa’s multimedial chamber opera Blank Out (2016) and his virtual reality installation Eight (2019). Postopera is an umbrella term referring to a variety of twenty-first-century stage works which share certain aesthetic principles. They employ unconventional, often anti-temporal, means of storytelling that are familiar from film and video games. Modern audio-visual technology is employed in their realisations, wherein opera’s centuries-old tradition is abandoned: the unity of body and singing voice.","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87779000","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":"The transfer effect of musical ability to intelligence and reading","authors":"Ivan Yifan Zou","doi":"10.2218/cim22.1a20","DOIUrl":"https://doi.org/10.2218/cim22.1a20","url":null,"abstract":"Disciplinary background A. In the discipline of music education, how musical training can benefit other non-musical cognitive domains has been a perennial theme among music educators, music pedagogist, and education policymakers. Despite its importance, the mechanism of the musical transfer effect is still shrouded in mystery. According to Swaminathan & Schellenberg (2019), not only are the results of the current literature on the transfer effect of musical ability contradicting, but the definition of musical training is also loosely defined. Disciplinary background B. In the discipline of linguistics, it has been hypothesized that tonal language speakers tend to have a finer perception of pitch variation so that it can be transferred to the domain of music, which also relies heavily on pitch variation. According to this hypothesis, tonal language speakers should have a higher prevalence of perfect pitch possessors and a lower prevalence of amusic patients. Except for this hypothesis, the direction of language-to-music transfer is still insufficiently investigated when compared to the music-to-language transfer. Moreover, there is virtually no literature on the language-to-music transfer when a longitudinal approach is adopted. Abstract In the discipline of linguistics, it has been hypothesized that tonal language speakers tend to have a finer perception of pitch variation so that it can be transferred to the domain of music, which also relies heavily on pitch variation. According to this hypothesis, tonal language speakers should have a higher prevalence of perfect pitch possessors and a lower prevalence of amusic patients. Except for this hypothesis, the direction of language-to-music transfer is still insufficiently investigated when compared to the music-to-language transfer. Moreover, there is virtually no literature on the language-to-music transfer when a longitudinal approach is adopted. Explaining the mechanism of cross-domain transfer between musical ability and other cognitive domains is crucial for us to understand both the pedagogical and therapeutic significance of music in the early development of children. Despite its importance, current literature still lacks convincing evidence to address how and under what conditions musical abilities can benefit other cognitive domains. In this study, we studied the reciprocal associations","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82519443","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":"Emotion regulation motives in music listening","authors":"Tim Loepthien, Waldie E. Hanser, A. V. D. van den Tol, Seong-u Bak, B. Leipold","doi":"10.2218/cim22.1a28","DOIUrl":"https://doi.org/10.2218/cim22.1a28","url":null,"abstract":"imagined","PeriodicalId":91671,"journal":{"name":"CIM14, Conference on Interdisciplinary Musicology : proceedings. Conference on Interdisciplinary Musicology (9th : 2014 : Berlin, Germany)","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74779757","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}