2022: CIM 2022 Proceedings

DOI: https://doi.org/10.2218/cim22.1

Published: 31-Aug-2022

Complete Proceedings

Proceedings of CIM22: 'Participation' (Single document PDF)

Nikki Moran, Youn Kim
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Front Matter

Introduction Foreword by CIM22 co-Chairs; Committees; Invited Speakers; Schedule at a glance.

Nikki Moran, Youn Kim
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Keynote plenaries

PLAYED: How Music and Tech Grooms Violence Against Black Girls Online

Kyra D. Gaunt
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Participation and Playing A/Part

Ruth Herbert
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Music Beyond its Making

Frederick Lau
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Session 1

Music listening perspectives related to music medicine in hospitals – peace or pain?

Helle Nystrup Lund, Raymond MacDonald
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Participatory creativity training and creativity self-concepts of students in specialist arts higher education

Nicola Pennill, Keith Phillips, Kamal Birdi
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Digitally mediated collaboration

Emily Wilson, Pauline Black
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Playing no solo imagination

Paul Abbott
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Session 2

Does prosocial attitude affect creativity in musical improvisation?

Adrian Kempf, Andrea Schiavio
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Sentiment analysis of corona-musicking online reveals bifurcation of pandemic coping strategies

Niels Chr. Hansen, Rebekah Baglini
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Tapping with a stranger: How does empathy mediate the affiliative effects of interpersonal synchronisation?

Persefoni Tzanaki
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"Turning the beat around"

Huw Cheston
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Redefining groove

Deniz Duman, Nerdinga Snape, Petri Toiviainen, Geoff Luck
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Time flies

Nicola Pennill
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Session 3

Signification system as artificial intelligence

Misty Choi
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The transfer effect of musical ability to intelligence and reading

Ivan Yifan Zou
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Participation in the modernist music experience

Nena Beretin
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MIDI Controllers and magic lanterns

Alexander Hunter, Martyn Jolly, Charles Martin
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Attending to attending

Charlie Sdraulig , Louis d'Heudières
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Session 4

The spectator-listeners’ participatory roles in Michel van der Aa’s stage works, Blank Out and Eight

Inkeri Jaakkola
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Public solitude or participatory experience

Jutta Toelle
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Participatory applause

Finn Upham, Ahmet Emin Memis, Niels Chr. Hansen, Fernando E Rosas, Maria-Alena Clim, Alexander Refsum Jensenius
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Can We Dance? Considering the role and meaning of music in videogames through "thinking in movement"

Oskari Koskela, Kai Tuuri, Jukka Vahlo
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Emotion regulation motives in music listening

Tim Loepthien, Waldie Hanser, Annemieke van den Tol , Seong-U Bak, Bernhard Leipold
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Biologists singing: Collective vocalization, posthuman listening, and interspecies audibility

Jami Reimer
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Session 5

Music composition as dialogue: A participatory process of democracy

Nathalie Dupuis-Desormeaux
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Dissensus, refusal and participatory music: Negation and rupture in Crowd in C

Eric Lemmon
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A case study in developing person-centred approaches to evaluating participation in Community Music

Una MacGlone, Graeme Wilson, Joy Vamvakaris, Raymond MacDonald
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Listening to listeners: Embodied music cognition and intersectional practices

Lydia Barrett
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Beyond WEIRD and towards the decolonisation of music for wellbeing and health

Juan Loaiza, Renee Timmers, Nikki Moran
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Session 6

Alone, together: The production of female soprano voice in Oxbridge chapel choirs

Jessica Edgar
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"We do opera!" Participation in German opera houses: institutional strategy and aesthetic concepts

Ulrike Hartung
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Is there a conservator in the room? Electroacoustic music preservation in an era of participation

Andreia Nogueira
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Machinic rhythms: Improvisational systems and more-than-human participation

Iain Campbell
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Learning enactivity: Can Alexander Technique-led music training enhance proprioceptual skills and awareness in dyspraxia?

Flora Henderson
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Metro-rhythmical experience in dance and music as the participatory cross-modal syntactic processing

Piotr Podlipniak
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Flashtalks

Shifting identities: Reflections on a composer-machine-performer dynamic

Taylor Brook, Catherine Lee
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Music-colour synaesthesia: Sensorimotor features and synaesthetic experience

Caroline Curwen, Renee Timmers, Andrea Schiavio
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Media, virtuality, and participation in musical creativity of the Young Cracow Composers

Agnieszka Draus
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Call and response: Social affordances in virtual Egyptian music and dance performance

Trisnasari Fraser, Jane W. Davidson
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Investigating participation in the formation of indeterminate music: example of Cage’s Solo for Piano (1958)

Chia-Ling Peng
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Performance as theatre: How expert pianists participate in concert stage direction

Olivia Urbaniak, Helen Mitchell
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Civilian wind bands as agents of non-formal and informal education

José Cidade, João Caramelo, Alexandra Sá Costa
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"Where are the bizarre chords in the middle?" A search for the sound of imaginary music

Filipa Cruz
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Singing in the pandemic: A small-scale study on musical experiences of university choristers in Hong Kong and the United Kingdom during the COVID-19 pandemic

Kari Ding
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Fab maps and the cartography of the invisible: Fragments on feedback ecology and participatory field recording

Johan Nyström
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Piano teachers’ use of music memorisation in one-to-one piano lessons: A preliminary study

Chara Steliou, Kelly Jakubowski
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Control and failure: A framework for analysis of sound oriented intermedia art

Marcin Strzelecki
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Collectively Classical: Social connection at a classical concert

Dana Swarbrick, Fernando E. Rosas , Jonna K. Vuoskoski
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Music theatre preservation: Intersections between musicology and archival science

Filipa Magalhães
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Music in the Community as an Undergraduate module: Discussion of different student placements from the student and instructor's point of view

Katerina Chatzovoulou, Christina Anagnostopoulou
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Participatory music making with people living with dementia

Lucy Forde
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Song, meaning-making in a dialogue

Alice Karbanova
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How do you solve a problem like capitalism? The role of music science

Sarah A. Sauvé
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Primate duet display via arboreal locomotor predictability: emergent height and variety as selecting for more complex gibbon great calls

David M. Schruth
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Differentiating between terrifying and anxious music in emotion research

Caitlyn Trevor, Marina Renner, Sascha Frühholz
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Geometries in sound: A way to empower the listener towards certain genres of contemporary art music

Riccardo D. Wanke
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A queer phenomenology of furniture music: A case study of Alvin Lucier’s I am sitting in a room (1969) as musical furniture

Lara Balikci
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