Gastvorträge

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Zusammenfassung:

Virtuelle akustische Umgebungen, die sich durch verschiedene Techniken wie die Binauralsynthese oder die Schallfeldsynthese realisieren lassen, sind dazu prädestiniert, realitätsnahe Bedingungen für eine experimentelle Untersuchung musikwissenschaftlicher Fragestellungen herzustellen. Der Vortrag gibt einen Überblick über den Stand und das Potential der Technik, und zeigt das Versuchsdesign und die Ergebnisse von zwei Studien aus dem Bereich der musikalischen Interpretations- und der Rezeptionsforschung.


Der Vortrag ist öffentlich und kostenfrei. Eine vorherige Anmeldung ist nicht erforderlich.

Zusammenfassung:

The spontaneous mental recall and repetition of music in the ‘mind’s ear’, known as involuntary musical imagery (INMI, or ‘earworms’), is a frequent and ubiquitous experience in the Western world. Despite its widespread prevalence, music psychological enquiry into the mechanisms underlying the INMI experience is relatively recent. Over the past few years, researchers have begun to understand the common triggers of INMI episodes and the contexts in which INMI is most likely to occur, individual differences in personality, musical background, and cognitive styles that predict INMI frequency and reactions to INMI, and effective strategies for alleviating unwanted INMI.  My talk will focus primarily on two studies that examined the musical features of INMI and how these can be used to predict when and why certain songs pop into our heads. The first is a computational study that focused on identifying common melodic features across a corpus of pop songs frequently experienced as INMI. The second study implemented methods for measuring the tempo of INMI episodes as they occurred during participants’ daily lives, in order to provide insights on accuracy and stability of recall within involuntary musical memories and how features of INMI relate to concurrent mood states. Taken together, the findings of these studies increase our understanding as to how features of the imagined music itself can contribute to the diversity of experiences reported as INMI.


Der Vortrag ist öffentlich und kostenfrei. Eine vorherige Anmeldung ist nicht erforderlich.

Zusammenfassung:

Flow is an altered state of consciousness characterized by complete immersion in an activity for its own sake, leading to altered time perception, loss of self-consciousness, and the feeling of pleasure and happiness. The extensive study of flow in the context of work and sports has shed light on the preconditions of flow experiences as well as on the positive outcomes of flow, such as high achievement. Empirical research on flow in music performance is scarce, although it may offer novel insights into the question of why people engage in musical activities for extensive periods of time. Csikszentmihalyi proposed the concept of an “autotelic personality”, i.e., a disposition to actively search for challenges and flow experiences. However, little is known about autotelic personalities among musicians. Marin and Bhattacharya (2013) studied individual differences in a group of 76 piano performance students and assessed their flow experience as well as their trait emotional intelligence. Flow was predicted by the amount of daily practice and trait emotional intelligence, but a positive relationship between flow and high achievement was not supported. Furthermore, the results of a follow-up interview study suggested that besides individual differences among pianists, specific structural and compositional features of musical pieces and related emotional expressions may facilitate flow experiences. Marin et al. (in prep.) further investigated whether flow among professional musicians is related to personality traits that have been identified as significant predictors of flow in other domains besides music. We studied 158 professional musicians (43 females, age range 22-64 years) of ten Austrian classical orchestras and administered a set of standardized questionnaires measuring dispositional flow, resilience, emotional self-efficacy, locus of control, the Big Five personality traits, stress reactivity, and implicit motives. Hierarchical linear regression analyses controlling for the Big Five personality traits and emotional self-efficacy revealed significant positive associations between flow experiences and age, internal locus of control, hope of success and resilience. Our results partly replicate and extend those of Marin & Bhattacharya (2013), and further, show that personality traits related to flow in the context of work and sport are also of critical relevance to music performance. The experience of flow was also associated with the orchestral rank but not with any other achievement measures.


Der Vortrag ist öffentlich und kostenfrei. Eine vorherige Anmeldung ist nicht erforderlich.

Referentin:

Friedrich Geiger 
Universität Hamburg              

Zusammenfassung:

Keineswegs homophon klang der Widerhall in der Presse nach Eröffnung der Hamburger Elbphilharmonie. Was waren die Erwartungen an den Saal? Welche akustischen Qualitäten soll er aufweisen - und welche gerade nicht? Ist dem Anspruch, zugleich höchsten akustischen Ansprüchen zu genügen und zugleich als Konzertsaal „für alle“ zu fungieren, überhaupt gerecht zu werden? Nicht nur die Beurteilung des Saals fällt, je nach Perspektive, sehr verschieden aus; schon die Entstehungsgeschichte des Konzertsaals kann als Problemgeschichte beschrieben werden. Friedrich Geiger zeigt auf, dass „Konzertgebäude von vornherein eine bestimmte, geschichtlich gewachsene Dynamik [besitzen], die erheblichen Sprengstoff birgt“.


Der Vortrag ist öffentlich und kostenfrei. Eine vorherige Anmeldung ist nicht erforderlich.