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Keynote Speakers

Zu Begin jedes Halbtages wird es eine Keynote-Präsentation an einem der fünf Standorte geben, die an den anderen Orten jeweils live übertragen wird. 
Hier werden die die Keynote-Referenten und ihre Arbeit kurz vorgestellt: 


Mind the Body: Musical Sense-Making and the Power of Action 

Recent work in cognitive neuroscience, psychology, and philosophy of mind, has showed that our body is involved in activities that we previously assumed were done mainly by the brain. In speech research, for example, it has been demonstrated that gesticulating while speaking reduces ongoing cognitive load in the brain. This talk will discuss original empirical findings that apply similar principles to the musical domain, contributing a new perspective to our understanding of learning and performing music. In particular, the role of body and pre-reflective experience will be explored in the early recognition of audiovisual synchronicity, in learning tonally ambiguous melodies, and in joint music-making. Finally, predictions for future research and theory will be offered.

Andrea Schiavio is Senior Scientist at the University of Music and Performing Arts Graz (Austria) where he teaches "Embodied music cognition" and "Psychology of music education". He is also Honorary Research Fellow at the University of Sheffield (UK), where he obtained his PhD in 2014. Between 2015 and 2017 he was Postdoctoral Researcher at the Cognitive and Systematic Musicology Lab of the Ohio State University (USA) and at the Department of Psychology of Bogazici University Istanbul (Turkey). His work has been published in Music Perception, PLoS ONE, Frontiers in Neurology, Musicae Scientiae, Phenomenology and the Cognitive Science, Psychology of Music, and Psychomusicology: Music, Mind and Brain, among others.




The Sad Music Paradox: Adaptive Functions and Maladaptive Processes

Sad music has been valued by human societies throughout history and today. The experiences that listeners report when listening to sad music tend to defy traditional models of emotion, since such experiences can be both pleasant and can involve high arousal levels. This talk will cover research that demonstrates the adaptive functions that listening to sad music can serve and how those processes break down in cases of depression. A model of the impact of sad music on mood will be presented.

Sandra Garrido is an NHMRC-ARC Dementia Research Development Fellow at the MARCS Institute for Brain, Behaviour and Development at the Western Sydney University. With a background in both music and psychology, her research interests are on the influence of music on mental health both historically and in the modern day, with a particular focus on depression and dementia. Sandra is also a violinist and pianist and has published over 40 peer reviewed papers and book chapters including a text co-authored with Prof. Jane Davidson entitled My Life As A Playlist (2014), and a monograph entitled Why Are We Attracted to Sad Music? (2017).



Modeling Melodic Expectation

A foundational idea in the study of music cognition is that emotional meaning in music is inherently linked to listeners' ability to form expectations about upcoming musical material. Here we ask what types of knowledge are brought to bear in forming these expectations. Specifically, we focus on two questions about melodic expectation: First, to what extent are expectations due to innate Gestalt-like principles (e.g. expecting stepwise motion or proximate pitches), versus to statistical knowledge of likely pitch sequences gained from one's previous musical experience? And second, to what extent are expectations due to the local note-to-note context (e.g. transition probabilities or n-grams) versus the global context (in particular, hierarchical harmonic structure)? I will present a novel method for testing these questions, developed in collaboration with Aniruddh Patel and Allison Fogel. We collect production data to probe listeners' expectations using a "musical cloze" task in which participants hear fragments of melodies and sing the note they think should come next. Using multinomial regression modeling, we can use this production data to test existing computational models of melodic expectation that embody principles described above, e.g. Temperley's (2008) Probabilistic Model of Melody (an innate-principles model) and Pearce's (2005) IDyOM model (a statistical n-gram model). We find that the IDyOM model outperforms the Temperley model in predicting listener expectations, but that both models crucially fail to capture important facets of harmonic structure (e.g. expectations for authentic cadences). We conclude that there is good evidence for the use of statistical knowledge in forming melodic expectations, but that this knowledge must be supplemented by hierarchical knowledge of harmonic structure.

Emily Morgan is a Postdoctoral Researcher in the Psychology Department at Tufts University. She received her PhD in Linguistics and Cognitive Science from UC San Diego in 2016. Her work combines behavioral and electrophysiological experimentation with computational modeling to investigate both music and language processing. 


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Telefon:+43 (0)316 380 - 8162

Öffnungszeiten Bibliothek:
Mittwoch: 10:00 - 13:00 Uhr
Freitag: 11:00 - 14:00 Uhr

Ausgenommen an lehrveranstaltungs- und prüfungsfreien Tagen, sowie in den Ferien.


Zentrumsleiter Univ.-Prof. Dr. Richard Parncutt Telefon:+43 (0)316 380 - 8161


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