escom 2017 conference program · escom 2017 conference program 25th anniversary edition of the...

ESCOM 2017 CONFERENCE PROGRAM 25th Anniversary Edition of the European Society for the Cognitive Sciences of Music (ESCOM) Expressive Interaction with Music 31 July – 4 August 2017, Ghent, Belgium www.escom2017.org

MONDAY31stJuly TUESDAY1stAugust WEDNESDAY2ndAugust THURSDAY3rdAugust FRIDAY4thAugust

9:00-9:30

Registration&Coffee

KEYNOTE:TomFritz-Music-enhancedexperience:

Perception,learning,memory

KEYNOTE:ElviraBrattico-Aestheticempowerment

throughmusic

PLENARYICMPC-ESCOM2018:RichardParncuttandRenee

Timmers

9:30-10:00

Workshops:JukkaLouhivuori&AnnaRitaAddessi10:00-10:30 Conferenceopening

LaureateoftheESCOMYoungResearcherAward:

JanStupacher

LaureateoftheGhentUniversityAward:KathrynEmerson

10:30-10:45KEYNOTE:MartinClayton-Interaction,entrainmentand

musicperformance

Coffee Coffee10:45-11:00

Coffee11:00-11:15

Paperssessions:Gesture&embodimentinperformance,

jazzexpertise,vocalexpression,

musictherapy

Papersessions:Cognition,well-being:Parkinson,consumption,

emotion2

11:15-11:30

Workshops:JukkaLouhivuori,AnnaRitaAddessi,&Godfried-

WillemRaes

11:30-12:00 Papersessions:Amusia,

ensembleperformance1,audio-

visualstimulation,emotion112:00-12:30Lunch Lunch

12:30-13:30

Lunch Lunch13:30-14:00

Papersessions:Perception,brain,(a)synchrony,education&

training

Papersessions:Well-being,

preference&familiarity,gesture

&embodiment214:00-15:30

Papersessions:Gesture&embodiment1,ensemble

performance2,children,

expressiveperformance

15:30-16:30 Postersession1&Coffee Postersession2&Coffee Postersession3&Coffee

16:30-17:00 Papersessions:Memory,

performance,sightreading,

semiotics&politics

Papersessions:Dance,cross-modal&conducting,aesthetic

experience

17:00-18:00

Registration

KeynoteESCOM:JaneGinsborgandJohnSloboda

18:00-18:30

Concert&Reception25years

ESCOM

19:00-19:30

19:30-20:00

Socialdinner&jamsession20:00-21:00

Concert

21:00-22:00

MONDAY31stJuly

17:00-20:00 REGISTRATION[Blandijn-Entrancehall,Groundfloor]

TUESDAY1stAugust

9:00-10:00 REGISTRATION&COFFEE[Blandijn-Entrancehall,Groundfloor]

10:00-10:30 CONFERENCEOPENING:MarcLeman[Blandijn-AuditoriumC]

10:30-11:30 KEYNOTE:MartinClayton-Interaction,entrainmentandmusicperformance[Blandijn-AuditoriumC]

EMOTION1[Blandijn-AuditoriumA]

AUDIO-VISUALSTIMULATION[Blandijn-AuditoriumB]

ENSEMBLEPERFORMANCE1[Blandijn-Room100.072]

AMUSIA[Blandijn-Room110.079]

11:30-12:00Korte,Williamson,&Cerci.‘Playingonautopilot’.Newinsightsonemotionregulationinmusicstudents

Cupellini,Cooperstock,&Belardinelli.Thesoundmotioncontroller:Adistributedsystemforinteractivemusicperformance

Pennill&Timmers.Rehearsalprocessesandstageofperformancepreparationinchamberensembles

Whiteford&Oxenham.Long-termplasticityforpitchandmelodydiscriminationincongenitalamusia

12:00-12:30Parncutt&Sattmann.Musicalchillsasexperientialcorrelatesofadaptivevigilance:Anecological-evolutionarystimulus-responsetheory

Timmers,Macritchie,Schabrun,etal.Theinfluenceofaudio-visualinformationandmotorsimulationonsynchronizationwithaprerecordedco-performer

Vandemoortele,Feyaerts,Reybrouck,etal.Howdomusiciansmanagemelodytransferswhenrehearsingchambermusic?Astudyoftheirgazebehaviour

Pfeifer&Hamann.Congenitalamusiaindizygotictwins:Acasestudy

12:30-14:00 LUNCH[DeBrug]

GESTURE&EMBODIMENT1[Blandijn-AuditoriumA]

ENSEMBLEPERFORMANCE2[Blandijn-AuditoriumB]

CHILDREN[Blandijn-Room100.072]

EXPRESSIVEPERFORMANCE[Blandijn-Room110.079]

14:00-14:30Paschalidou,Clayton,&Eerola.MappingphysicalefforttogestureandsoundduringinteractionswithimaginaryobjectsinHindustanivocalmusic

Seibert.Situatedaspectsofjointmusicperformanceinalongitudinalfieldstudy

DiStefano,Focaroli,Giuliani,etal.Childrenplaywithmusic:Resultsfromaconsonanceanddissonanceperceptionstudy

Li&Timmers.Exploringpianists’conceptsofpianotimbreinexpressivemusicperformance

14:30-15:00 Godøy&Song.Impulse-drivensound-motionobjects

Wöllner&Hohagen.Callandresponse:Musicalandbodilyinteractionsinjamsessions

Bonetti&Costa.Musicalmode,intelligence,andemotional-visual-spatialdimensions:Acomparisonbetweenchildrenandadults

Vaquero,Titov,&Honing.Whatscoremarkingscansayofthesynergybetweenexpressivetimingandloudness

15:00-15:30Reybrouck.Expressionandinteractioninreal-timelistening:Adynamicalandexperientialapproachtomusicalmeaning

Jakubowski,Eerola,Moran,etal.Measuringvisualaspectsofinterpersonalinteractionsinjazzduos:Acomparisonofcomputationalvs.manualannotationmethods

Rabinowitch&Meltzoff.Thepro-socialimpactsofembodiedrhythmicmovementinjointmusicinteractions

PereiraGhiena&Martínez.Expressiveperformanceandinteractionwiththemusicasagent:Dynamiccontoursoftheself-sensedexperience

15:30-16:30 POSTERSESSION1[Blandijn-Floor+1]&COFFEE[Blandijn-Groundfloor]

MEMORY[Blandijn-AuditoriumA]

PERFORMANCE[Blandijn-AuditoriumB]

SIGHTREADING[Blandijn-Room100.072]

SEMIOTICS&POLITICS[Blandijn-Room110.079]

16:30-17:00

Korsmit,Burgoyne,&Honing.Ifyouwannabemylover…AHookdiscoverygametouncoverindividualdifferencesinlong-termmusicalmemory

Smit&Sadakata.Theeffectofhandednessonspatialandmotorrepresentationofpitchpatternsinpianists

Wolfs&Boshuizen.Sight-readingbycellists:Theroleofpositionalknowledge

Wong,Müllensiefen,&Keller.Expressingarchetypesthroughmusic:Amusicalsemioticsapproachtotheencodinganddecodingofarchetypalfigures

17:00-17:30 Janssen,Burgoyne,&Honing.Melodyrecallinfolksongtransmission

Cohen&Bodner.Musicperformanceskills:Facilitatingflowandreducingperformanceanxiety

Herrero,Carriedo,&Corral.Therelationshipbetweensightreadingmusicperformanceandupdatinginworkingmemory:Differencesassociatedtodevelopmentandinstrumentknowledge

Krause,Anglada-Tort,&North.Genderandpopmusiclyrics

17:30-18:00Rainsford,Palmer,Hollins,etal.Unconsciousplagiarisminmusic:Exposureincreasesplagiarisminmusiccomposition

Chang,Kenny,&Burga.ValidationoftheKennyMusicPerformanceAnxietyInventory(K-MPAI)

Huovinen,Ylitalo,&Puurtinen.Theeye-timespan:Stimulus-driveneffectsonlookingaheadinsight-reading

Ziv.Musicandnationalidentity:Theeffectofpatrioticandprotestsongs

18:00-20:00

20:00-21:00 CONCERT:MarcVanrunxtPrototype[DeKrook]

WEDNESDAY2ndAugust

9:00-10:00 KEYNOTE:TomFritz-Music-enhancedexperience:Perception,learning,memory[Blandijn-AuditoriumC]

10:00-10:30 LAUREATEOFTHEESCOMYOUNGRESEARCHERAWARD:JanStupacher-Gowiththeflow:Subjectivefluencyofperformanceisassociatedwithsensorimotorsynchronizationaccuracy[Blandijn-AuditoriumC]

10:30-11:00 COFFEE[Blandijn-Groundfloor]

GESTURE&EMBODIMENTINPERFORMANCE[Blandijn-AuditoriumA]

MUSICTHERAPY[Blandijn-AuditoriumB]

VOCALEXPRESSION[Blandijn-Room100.072]

JAZZEXPERTISE[Blandijn-Room110.079]

11:00-11:30

Czepiel&Egermann.Consciousandsubconsciousbodymovement:Anexploratorystudyintoexpressiveandtechnicalgesturesinpianoplaying

Foubert,Colling,&DeBacker.Temporalinterpersonalsynchronizationinaccompaniedmusicalimprovisationswithpeoplewithborderlinepersonalitydisorder

Liuni,Ponsot,&Aucouturier.Notsoscaryanymore:Screamingvoicesembeddedinharmoniccontextsaremorepositiveandlessarousing

Jimenez&Kuusi.Jazzmusicians’tuneidentificationfromharmony

11:30-12:00 Coorevits,Maes,&Leman.Gestureinthecommunicationandcontrolofmusicaltiming

Jordan.Assessingthequalityofrelationshipinmusictherapysessionswiththefocusonlanguage

Merrill&Larrouy-Maestri.Featuresofvocalexpressioninsongandspeech:Examinationof‘speechsong’

Wopereis&Stoyanov.Diversityinconceptualizingimprovisationalexpertise


PERCEPTION[Blandijn-AuditoriumA]

BRAIN[Blandijn-AuditoriumB]

(A)SYNCHRONY[Blandijn-Room100.072]

EDUCATION&TRAINING[Blandijn-Room110.079]

13:30-14:00 Aucouturier&Canonne.Ismusicalconsonanceasignalofsocialaffiliation?

Baéz-Ávila,Ávila-Cascajares,&Pérez-Acosta.Comparativeanalysisofbrainactivationintrainedmusiciansduringattentivemotionlesslisteningofregularandirregularrhythmicpatterns

Buhmann,Moens,Lorenzoni,etal.Shiftingthemusicalbeattoinfluencerunningcadence

Wolf,Düvel,&Kopiez.Prevalenceandpredictorsofmusic-relatedneuromythsamongteachersandstudents

14:00-14:30Quiroga,Hansen,Højlund,etal.Perceptualprocessingofacomplexmusicalcontext:Testingamorerealisticmismatchnegativityparadigm

Stolzenburg.Periodicitydetectionbyneuraltransformation

Six,Arens,Demoor,etal.Regularityandasynchronywhentappingtotactile,auditoryandcombinedpulses

Correa.Musicalanalysisandemotions:Acasestudyofateachingandlearningstrategydesignedtopromoteoptimalexperiences

14:30-15:00 Moelants&Vaes.PerceptionoftoneclustersHadley,Novembre,Keller,etal.Simulationinmusicalinteraction:Causalinvolvementofdorsalpremotorcortexinturn-takingaccuracy

vanEgmond&Schaefer.Timingofcuedmovement:Effectsofcuecomplexityandcognitivefunction

O’Neill&Egermann.Doespractisemakeperfect?Aninvestigationontheeffectofthepresenceofotherpeopleonelicitingthedominantresponseinmusicalperformance

15:00-15:30

Metcalfe,Timmers,&Brown.Perceivingemotionfrommusicperformancecues:Studieswithnormal-hearinglistenersandcochlearimplantusers

Cheong,Will,&Lin.Dovocalandinstrumentalprimesaffectwordprocessingdifferently?:AnfMRIstudyontheinfluenceofmelodicprimesonwordprocessinginChinesemusiciansandnon-musicians

Lee,Song,&Kim.InterpersonalentrainmentinSeoulshamansongsanditsimplicationformusicaltimingstructure

Vasconcelos&Pinheiro.Anelectrophysiologicalinvestigationontheroleofmusicaltrainingonspeechprosodyprocessingandsegmentation.


AESTHETICEXPERIENCE[Blandijn-AuditoriumA]

CROSS-MODAL&CONDUCTING[Blandijn-AuditoriumB]

DANCE[Blandijn-Room100.072]

16:30-17:00 Canonne.Listeningto(collective)improvisation

Wang,Keller,&Spence.Thesoundofsalsa:Enhancingtheevaluationofpiquancybymeansofacustomisedcrossmodallycongruentsoundtrack

Howlin,Orgs,&Vicary.Theimpactofsoundtrackcongruencyontheaestheticexperienceofcontemporarydance:Exploringaestheticinteractionintermsofarousalandenjoymentratingsinthreeaudiosettings

17:00-17:30

Kopiez,Wolf,Mütze,etal.Tendencytowardstheaverage?–Theaestheticevaluationofaquantitativelyaveragemusicperformance:AreplicationofRepp’s(1997)study

Maimon,Lami,&Eitan.Cross-modalcorrespondencesoftonalstability

Wen,Bamford,Burger,etal.Music-inducedsynchronyandsocialaffiliationintango

17:30-18:00 Bär,Omigie,&Fischinger.SchöneStellen–Alabstudyonbeautifulpassagesinmusic

Higgs&Furlong.Musiccompositionfordeafandhearingalike:Thesenseensemble,Study#1-Mergingperformancewithclinicalstudytoexaminethecross-modalandintersubjectivenatureofmusicalexperience

Naveda.Musicalmeter,movementandculturalroles:Acomparisonbetweendifferenttypesofmovementresponsestomusic

18:00-18:30

Egermann,Reuben,&McCall.Interactionbetweenaestheticjudgementandemotionalprocessing:Studyingaconcertaudiencelisteningtocontemporarymusic

Oudyk,Livingstone,&Rensink-Hoff.Theroleofexperienceinconductinggestures

Haugen.Investigatingmusicalmeterasshape:TwocasestudiesofBraziliansambaandNorwegiantelespringar

18:30-19:30

19:30-22:00 SOCIALDINNER&JAMSESSION[Parnassus]

THURSDAY3rdAugust

9:00-10:00 KEYNOTE:ElviraBrattico-Aestheticempowermentthroughmusic[Blandijn-AuditoriumC]

10:00-10:30 LAUREATEOFTHEGHENTUNIVERSITYAWARD:KathrynEmerson-Seeingthemusicintheirhands:Howconductors’depictionsshapethemusic[Blandijn-AuditoriumC]


COGNITION[Blandijn-AuditoriumA]

EMOTION2[Blandijn-AuditoriumB]

WELL-BEING:PARKINSON[Blandijn-Room100.072]

CONSUMPTION[Blandijn-Room110.079]

11:00-11:30Schaefer.Reconsideringcognitiveeffectsofmusiclistening:EvaluatingtheArousal-MoodHypothesisoverthelifespan

Vuoskoski&Eerola.Theenjoymentofsadness-inducingmusicismediatedbyfeelingsofbeingmoved

Rizzonelli.MusicalfeedbackingaittrainingforParkinson’spatients

Herzog,Lepa,Steffens,etal.Predictingmusicalmeaninginaudiobrandingscenarios

11:30-12:00Killingly,Lacherez,&Meuter.Singinginthebrain:Investigatingthecognitivebasisofearworms

Kayser.Facinganewerainstudyingmusic-inducedemotions–Howlettinggoofthestatusquomayhelpseeingtheseeminglyinvisible

Moens,vanNoorden,deWilde,etal.Effectsofadaptive-tempomusic-basedRASforParkinson’sdiseasepatients

Luck.Frompreferencetoconsumption:Howmusicaltasteshapeslisteninghabits


GESTURE&EMBODIMENT2[Blandijn-AuditoriumA]

PREFERENCE&FAMILIARITY[Blandijn-AuditoriumB]

WELL-BEING[Blandijn-Room100.072]

13:30-14:00 Hosken&Ashley.Embodiedresponsestothedrop:Expectationfulfilmentandstrength

Cui,Dederichs,Troje,etal.Characterizationofnewlygainedstatisticalknowledgeofanunfamiliarmusicsystem

Ghilain,Schiaratura,Lesaffre,etal.Musicandmovementsynchronizationinpeoplewithdementia

14:00-14:30Kelkar&Jensenius.Tracingmelodies:Anobservationstudyofhandmovementstovocalphrasesfromdifferentmusicalcultures

vanDitzhuijzen&Schaefer.Theeffectofmusiclisteningonthecognitiveperformanceofolderadults:Doesfamiliaritymatter?

Colgan,Mason,&Paisley.Developingapersonalplaylistappfordementia

14:30-15:00Solberg&Dibben.Break,buildanddrop:Embodiedlisteningasexpressiveinteractionwithelectronicdancemusic

Bötsch,Wirth,Lennicke,etal.Replicationandvalidationofanexperimentalparadigmofmeasuringopenearedness

Moumdjian,Moens,Feys,etal.EffectofmotorentrainmenttoauditorycuesandmusicduringwalkingonqualityofmovementandperceivedfatigueinpersonswithMultipleSclerosis

15:00-15:30 Solberg&Jensenius.Armandheadmovementstomusicalpassagesofelectronicdancemusic

Bannister&Eerola.Musically-inducedchills:Theeffectsof“chillssections”inmusic


16:30-17:00

17:00-18:00 KEYNOTEESCOM:JaneGinsborgandJohnSloboda[Aula]

18:00-22:00 CONCERT&RECEPTION25YEARSESCOM[Aula]

FRIDAY4thAugust9:00-9:30 PLENARY:ICMPC-ESCOM2018byRichardParncuttandReneeTimmers[Blandijn-AuditoriumC]

WORKSHOP1A[Blandijn-Room110.079]

WORKSHOP2A[Blandijn-Room100.072]

9:30-10:45 JukkaLouhivuori:Wearablesinmusiceducationandresearch

AnnaRitaAddessi:Musicalimprovisation,collaborativelearningandMIROR

platform


WORKSHOP1B[Blandijn-Room110.079]

WORKSHOP2B[Blandijn-Room100.072]

WORKSHOP3[LogosFoundation]

11:15-12:30 JukkaLouhivuori:Wearablesinmusiceducationandresearch

AnnaRitaAddessi:Musicalimprovisation,collaborativelearningandMIROR

platform

Godfried-WillemRaes:MusicalinteractionwithRobots


PosterSession1:Tuesday1stAugust PosterSession2:Wednesday2ndAugust PosterSession3:Thursday3rdAugust

1 Vroegh.Ismusicabsorptionadistinct

stateofmind?Ataxometricinvestigation 30 Spangardt&Ruth.Effectsofvocalsinadvertisingsongs 58

Fiedler&Müllensiefen.Musical

trajectoriesandcreativeorientationof

musiclessonsaffectthedevelopmentof

interestin‘music’insecondaryschools’

students

2 Ruth&Spangardt.Productplacementsin

popularmusic 31

Thiesen,Kopiez,Reuter,etal.Constructionandvalidationofnew

assessmentinstrumentsforveryshort

musicalstimuli(„plinks“)

59Ruth.Theinfluenceofattentionandfamiliarityontheeffectsofmusicwith

prosociallyrics

3Groeneveld&Sadakata.Effectofmelodic

representationontheSpeech-to-Song

(STS)illusion32

Cohrdes,Wrzus,&Riediger.Listeningtoself-selectedmusicasmoodregulation

strategy?Interrelatingregulation

motivation,moodchangeand

physiologicalreactivityinvariousages

60

Krause&Davidson.Cross-culturalevidenceforpromotinglife-longmusical

investmentthroughmusiceducation:

Exploringbestpracticeapproaches

4

Anglada-Tort&Müllensiefen.Doesthefluencyofartistsandsongs’names

matter?Theeffectoflinguisticfluencyon

evaluationsofmusic

33Barradas&Sakka.Theeffectoflyricsonmusic-inducedemotions:Acomparisonof

PortugueseandSwedishlisteners61

Bressan,Vets,&Leman.Amultimodal

interactiveinstallationforcollaborative

musicmaking:Frompreservationto

enhanceduserdesign

5

Küssner&Eerola.Thespecialcaseofmusic-inducedvisualimageryandits

correlateswithmusicalskills:Findings

fromanonlinesurvey

34Elvers&Steffens.Motivationalmusic

promotesriskydecision-makingbutnot

theexecutionofaball-throwingtask62

Larrouy-Maestri,Harrison,Walker,etal.Anewtestoftheabilitytodetect

mistuninginrealmusic

6 Siedenburg&Müllensiefen.Modeling

timbresimilarityofshortmusicclips 35 Cenkerová.Pitchproximityvs.tonal

proximityinchordperception 63 Krüger.Gesturalinteractioninajazzjam

session

7Rinne&Huovinen.Expertpianists’stylisticassessmentofmusicalnotation

frombriefglances36

Grimm,Fünderich,&Lange.Howistheperceivedmusicalexpressivityofsingers

affectedbytheirmimicandgestural

interpretation?

64Floridou,Mencke,Caprini,etal.Novelinvoluntarymusicalimagery:Thegenesis

ofatuneinthemind

8 Schurig.Re-performingeverydaylife

throughmusic 37

Herget&Schramm.Familiaritymatters?

Emotionsandassociationstofamiliarand

unfamiliarbackgroundmusicin

ambiguousfilmscenes

65

Caruso,Nijs,&Leman.Musicalgestures

asaninterfaceofperformers’

intentionality:Acasestudyofwestern

embodimentofKarnaticmusic

9 Brown&Krause.Psychologicalpredictorsofengagementinmusicpiracy 38

Wöllner,Albrecht,Hammerschmidt,etal.Slowmotioninfilmsandvideoclips:The

roleofmusiconperceivedduration,

emotionsandeyemovements

66Stirnat.Perceivedspaciousnessinmusic

usingdifferentreproductiontechniques:

Analysisofmusicalcues

10 Ackermann.»Idon’tlikethat!«Dislikedmusicanditsrationales 39 Yörük&Mungan.Statisticalsummary

representationsinmusic-likeperception 67

Phillips,Goldman,&Jackson.Theeffectofhandshapefamiliarityonguitarists’

perceptionsofsoniccongruence:An

alteredauditoryfeedbackstudy

11Asano&Maidhof.Theinfluenceofmeter

onharmonicsyntacticprocessingin

music.AnERPstudy40

D'Amario&Daffern.Interpersonalinteractionofportamentoinsinging

ensembleperformances68

Loaiza.Backtothewild:Socialinteractionsneedanon-individualistic

explanatoryunit

12Chełkowska-Zacharewicz&Janowski.PolishadaptationofGEMS-factor

structureandreliability41

Arman.Rhythmandtrance:From

ShamanismtoSufitraditionand

psychedelicculture69

Trower&Ockelford.Usingzygonictheorytopredictexpectationsinrepeated

melodicstimuli

13

Meissner&Timmers.Youngmusicians’

viewsontheirlearningofexpressive

performancewithinanactionresearch

project

42

Bisesi&Toiviainen.Therelationshipbetweenmusicalstructureandemotionin

classicalpianoscores:Acasestudyonthe

themeofLaFolia

70 Louhivuori,Duman,&Viirret.Newmusicalinterfacesandexpressivity

14Vurma.Glottaladductionandspectralenvelopevariationatsingingdiatonic

scaleswithdifferentdynamicshapings43

Ulor,Jakubowski,&Müllensiefen.Testingtheroleofinvoluntarymusicalimageryin

novelmusiclearning71

Himberg,Förger,Niinisalo,etal.SocialeMotions:Exploringemotionalexpression

andcontagionincontemporarydance

15

Jakubowski,Bashir,Farrugia,etal.Involuntaryvs.voluntarymusical

imagery:Acomparisonoftemporal

precisionandemotionalresponses

44Spieker.IntheZone:Aninteractiveeducationaltechnologybasedon

symmetricalentrainment72 Shukla.Music@work:Roleofbackground

musicontaskperformance

16Loimusalo,Huovinen,&Puurtinen.Pianists’mentalpracticestrategies:A

mixed-methodapproach45

Mendoza&Thompson.Modeling

perceivedsegmentationofbodilygestures

inducedbymusic73

Karnop&Steffens.Howdopersonalitytraitsinfluencetheeffectoflisteningto

sadmusiconinducedmusicalemotions?

17

Greb,Schlotz,&Steffens.Towardsamodelpredictingmusicselectionbehavior

byfunctional,situational,andperson-

relatedfactors

46

Lynch&Bhattacharya.Melodic

expectancyanditscross-modalemotional

primingeffectsondecisionandmemory

tasks

74Egermann,Lepa,Schoenrock,etal.Developmentandevaluationofageneral

attributeinventoryformusicinbranding

18

Emerson&Egermann.Expressivity,embodiment,control:Exploringthe

motivationsforbuildingnewdigital

musicalinstruments

47Saarikallio&Maksimainen.Musicand

picturesasmoodregulation:A

comparativestudy75

Beeston&Summers.Machinelistening:

Theexpressivepotentialof

human+computersystemsinrealrooms

19

Caramia,Romani,&Palmieri.Music

influenceonvisualandmotorcortex:A

synestheticactivityexploredwithevoked

potentials

48Floridou,Peerdeman,&Schaefer.Spontaneousandvoluntarymusical

imageryacrossthelifespan76

Bunte,Jordan,&Busch.Activationofmusicalgender-associationsatprimary

schoolage

20Mullensiefen,Shapiro,Harrison,etal.Musicalabilitiesandacademic

achievement–what’sthedifference?49

Parncutt&Reisinger.Accidentalsonoritiesinearlypolyphony:Evidencefor

earlysensitivitytoroughnessand

harmonicity

77

Kaiser,Heimerich,Kierdorf,etal.Investigatingthedevelopmentofjoint

attentionalskillsinearlyontogeny

throughmusicaljointaction

21 VanNoorden,Vargas-Cañas,Bolaños,etal.Sedativesoundandmusiccomputing 50

Crespo,Monte-Ordoño,&Toro.EEGresponsestochangesinconsonanceand

dissonance78

Lorenzoni,VanDyck,&Leman.Ontheeffectofsynchronizedandnon-

synchronizedmusiconrunners’footstrike

impact

22

Bonard&Grandjean.Canmasteryof

musicalgrammarspartiallypredict

perceptionofmusicalexpression?A

cross-culturalstudybetweenwesternand

Indianclassicalmusic

51Fuchs,Knauer,Jüngling,etal.Evaluationofdifferentsonificationmodelsfor

balancetraining79

Sørensen,Petersen,Ross,etal.Anoveltoolformeasuringmusicalabilitiesin

children

23Itaborahy&Naveda.Evaluationofassociationsbetweengenderand

dance/musicmovements52

Pérez-Acosta&Yáñez-Suárez.Cerebralelectricalactivitytriggeredbymusic

imageryandmusicperception:A

comparativeEEGstudy

80 Filippidi&Timmers.Moodregulationand

involuntarymusicalimagery

24

Mooren,Burgoyne,&Honing.Investigatinggroupingbehaviourof

dancersinasilentdiscousingoverhead

videocapture

53Rainsford&Palmer.Thedistinctivenesseffectintherecognitionofmusical

melodies81

Martínez,Pérez,Damesón,etal.Playingwiththephantom:Human-virtual

interactionsinjazzperformance

25Carlson,Burger,&Toiviainen.Genremovementcharacteristicsandpreference

inmusic-inducedmovement54

Martínez,Damesón,Pérez,etal.Participatorysensemakinginjazz

performance:Agents’expressive

alignment

82

Hohagen&Wöllner.Evaluationofmovementsonification:Perceptionof

auditoryandvisualdisplaysofmusical

performancegestures

26 Coorevits&Östersjö.Chunkingandco-articulationinperformanceanalysis 55

Degrave&Dedonder.ValidationofaFrenchtranslationoftheGoldsmiths

MusicalSophisticationIndex,an

instrumenttoassessself-reportedmusical

skillsandbehaviors

83Dell'Anna,Fossarato,Burin,etal.Entrainmentandsharedrepresentations

injointfingertapping

27Busch,Kreutz,Rach,etal.Musical

sophisticationandhealth.Findingsfrom

anonlinesurvey56

Addessi,Anelli,&Maffioli.ChildrendancingwiththeMIROR-Impro:Doesthe

reflexiveinteractionenhancemovement

creativity?

84Addessi.Reflexiveattunementinchild-

childinteractionandchild-machine

interaction:Twocasestudies

28Larrouy-Maestri,Franz,Bégel,etal.Perceptionofbeataccuracyinmusic:

Relativetothetempo?

57Desmet,Lesaffre,Six,etal.Multimodal

analysisofsynchronizationdatafrom

patientswithdementia85

Charisi.Identificationofchildren’saffectivestatesinmusic-making:Insights

fromthePADmodel

29

Zhou.Hismaster’svoice:Insearchof

individualapproachestotempo

modulationofcontemporarypianists

throughthestudyofrecorded

performanceofChopinandLiszt

Info

Addresses of the conference venues

Main conference venue: Campus Blandijnberg, Blandijnberg 2, 9000 Gent

Lunch venue: De Brug, Sint-Pietersnieuwstraat 45, 9000 Gent

Concert venue 1 /08: De Krook, Miriam Makebaplein 1, 9000 Gent

Social d inner venue 2/08: Parnassus, Oude Houtlei 122, 9000 Gent

Clos ing recept ion venue 3/08: Aula, Voldersstraat 9, 9000 Gent

Workshop Musical interact ion with Robots venue 4/08: Logos Foundation, Bomastraat 24, 9000 Gent

Contact numbers of the ESCOM 2017 Organis ing Committee

General ass istance , quest ions , etc . concerning the conference:

+32 474 248 734 AND +32 474 248 713

Emergency contact numbers

UGent emergency number :

+329 264 88 88

Belgian pol ice and emergency number :

101

CONTACT & INFO [email protected] www.escom2017.org www.escom.org

escom 2017 conference program · escom 2017 conference program 25th anniversary edition of the...

Documents