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A coupled experimental and statistical approach for an assessment of SARS-CoV-2 infection risk at indoor event locations
No full textPASSIO - Von Leid und Leidenschaft
Full text linkDie Vermittlung eines Acapella-Chorkonzertes zur Passion für Schüler:innen von heute - wie kann das gelingen? Initialisiert von Mitgliedern des Bundesschulmusikchores beschäftigten sich Studierende der Freiburger Hochschulen mit eben dieser Fragestellung. Dabei entwickelte sich als Leitgedanke der didaktischen Anlage, was der künstlerische Leiter Prof. Morten Schuldt-Jensen als Kernidee der Programmgestaltung zugrunde legte: die emotionale Wucht der Passionsgeschichte als Geschichte des Verrats, der Verzweiflung und der Vergebung sollte im Vordergrund stehen. Die Geschichte Jesu wurde von ihrem religiösen Kontext gelöst und aus einer ganz und gar menschlichen Perspektive betrachtet und nachempfunden: verraten von den engsten Freunden, verlassen von den Liebsten, verurteilt zu Unrecht - und trotz allem Hinnahme und Vergebung. Die große, kontrastreiche Bandbreite menschlicher Gefühle, die sich in den Chorwerken eindrücklich zeigt und nachempfinden lässt, sollte hörend, handelnd, gestaltend im Zentrum des vorbereitenden Unterrichts stehen
Die Deutsche Gesellschaft für Musikpsychologie (DGM)
No full textSeit ihrer Gründung im Jahr 1983 führt die Deutsche Gesellschaft für Musikpsychologie Interessierte aus der Musikwissenschaft, Psychologie, Pädagogik, Medizin, Soziologie, Philosophie sowie aus der Musiktherapie, Instrumentalpädagogik und weiteren Anwendungsfeldern zusammen. Sie führt an jährlich wechselnden Orten Tagungen zu aktuellen Themen der Musikpsychologie durch, unterhält Kontakte zu Fachgesellschaften im In- und Ausland und fördert den wissenschaftlichen Nachwuchs durch Workshops, Tagungsstipendien und Preisverleihungen. Mit dem Jahrbuch Musikpsychologie, das seit 1984 erscheint, liegt ein Publikationsorgan vor, das sowohl zeitnah digital (open access) als auch in Druckversion erscheint. Der Beitrag geht auf die Gründungsgeschichte und die aktuellen Entwicklungen der DGM ein und bietet einen Überblick über die derzeitige wissenschaftliche Themenvielfalt in Tagungs- und Jahrbuchbeiträgen
Drumming Action and Perception
No full textThe present study approached drumming motion from a three-fold perspective: computational movement feature analysis, perceptual evaluations of movement animations, and both in combination. We motion-captured a professional drummer performing two rhythms at two tempi with varying combinations of dynamics and amount of movement. Movement feature analysis indicated that the drummer varied their movement such that movement fluidity was higher in slow tempo compared to fast tempo, in particular for experimental conditions involving more movement and softer dynamics. Movement complexity was highest when playing slowly in the “much movement” condition. Subsequently, a perceptual online experiment was conducted using the drummer's animations with and without audio, asking observers (n = 114) to judge perceived passage of time, expressivity, and tempo. Results indicate that passage of time ratings were related to movement instructions, with much-movement performances being perceived to pass more quickly than little-movement ones. Furthermore, fast tempo stimuli were perceived to pass more quickly than slow tempo stimuli. Expressivity ratings were associated with the stimulus tempo as well, with fast tempo stimuli being rated as more expressive than slow tempo stimuli. Moreover, much-movement performances received higher ratings for expressivity, reinforcing the link between expressivity and movement. Including the movement features in the statistical model revealed that increased movement complexity and amount of movement related to higher perceived expressivity. While movement could be well distinguished between the different drumming conditions, the analysis regarding the other perceptual judgments (passage of time and tempo) indicated less influence of the movement characteristics, implying that participants rather focussed on other aspects when rating these. The outcomes suggest systematic links between bodily implementation of drumming and its perception related to time, tempo, and expressivity
The Contrast Principle, Typicality, and Cultural Longevity in 19th-Century Symphony Slow Movements
No full textThe notion of contrast is integral to both aesthetic and psychological accounts of attention and interest. It therefore represents a useful heuristic for understanding contrasting slow movements in Western art music. Based on the observation from music theory that within-movement tonal contrast (mode and key) increased during the 19th century, we assumed that a corpus of symphonic slow movements (n = 246) composed between 1800 and 1913 would exhibit increasing between-movement tonal contrast when compared to a sample of symphonies composed between 1757 and 1795 (n = 141). Synchronic analysis confirmed that slow movements contrast with their key-defining first movements. Diachronic analysis confirmed that within-symphony tonal contrast increases after 1800. Each of five style parameters observed for era comparison (changes in use of mode, key, meter, form, and structure) conformed to musicologically distinct yet plausible historical boundaries. Cluster analysis of the post-1800 corpus generated three clusters, with mode (non-)match between slow movement and symphony, printed tempo marking, and key relationship (measured by tonal distance) as the three strongest predictors. Since discussions of style naturally raise questions of influence, we also examined the relationship between prototypicality and composer prominence. To that end, analysis of clusters suggests the possibility of multiple, distinct “Beethovenian prototypes.” Finally, we found that, with the exceptions of Beethoven and Brahms, the most statistically typical pieces lack enduring impact, from today's perspective. Conformity to general stylistic norms thus seems to predict against the cultural longevity of a 19th-century symphony
Differences of Electroglottographical Contact Quotients between Connected Speech and Sustained Phonation in Clinical Measurement of Voice
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