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o On-site presentations
Programme
The abstract book is available for download as .PDF here.
Published Aug. 20, 2024 5:11 PM
- Last modified Oct. 11, 2024 5:25 PM
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TIME (CEST) |
EVENTS |
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08:30—09:00 |
Registration and coffee |
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09:00—09:15 |
Welcome and opening remarks |
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09:15—10:00 |
oKeynote 1: Alexander Refsum Jensenius Reflecting on 20 years of concert research Chair: Nanette Nielsen |
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10:00—10:45 |
Session 1: Orchestral musicians Chair: Dana Swarbrick |
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oBishop Synchrony in orchestral string sections |
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oUpham Heart Rate consistency and Heart Rate Variability constraints in orchestral musicians across performances |
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Panel discussion |
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10:45—11:00 |
Break |
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11:00—11.45 |
rKeynote 2: Hauke Egermann Music in concert – How live music moves us Chair: Lauren Fink |
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11:45—12:15 |
Lunch |
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12:15—13:00 |
oKeynote 3 (Food & Paper): Laurel Trainor Using motion capture to measure audience experiences at concerts Chair: Jonna Vuoskoski |
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13:00—13:15 |
Break |
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13:15—14:00 |
rKeynote 4: Melanie Wald-Fuhrmann Concert research at the MPIEA: How our aesthetic experience of music is shaped by frames and concert formats Chair: Sara D’Amario |
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14:00—15:30 |
Session 2: Audiences experiences Chair: Finn Upham |
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hMartin & Nielsen Affective framing, care, and (en)action in musical encounters |
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rGonzález-Castelao The concept of live concert in the 21st century: Audience’s absorption and Pauline Oliveros’s Deep Listening revisited |
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rHansen, Alladio, Hessellund, Fasano & Hartmann A cross-cultural survey on applause habits in classical concertgoers |
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rCameron, Bosnyak, Dotov & Witek |
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Panel discussion |
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15:30—15:45 |
Break |
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15:45—16:45 |
Session 3: Methods Chair: Laura Bishop |
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oFink Towards more mobile, modular, scalable concert research methodologies |
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rDemir |
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oBaczkowski The benefits and challenges of real-world compositions in the study of music and time |
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Panel discussion |
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16:45—17:00 |
Break |
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17:00—18:30 |
Session 4: Performers—Audiences interactions Chair: Peter Keller |
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oSwarbrick, Bosnyak, Marsh Rollo, Fu, Trainor & Vuoskoski Being in concert: Audience participation facilitates engagement and social connectedness |
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rKirk, Anderson, Miguel, Wood, Tawfik, Bosnyak & Trainor Expressivity, emotion, and synchronisation of subjective and neurophysiological responses during a live concert |
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rPayne & Burland Musicians’ self-reported experiences of the performer-audience relationship |
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oD’Amario Cardiac coupling of orchestral musicians and audience members during orchestra performances |
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Panel discussion |
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18:30— |
Refreshments |
o On-site presentations
h Hybrid presentations (partially on-site and partially remote)
r Remote presentations