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Proceedings

Wednesday 9th August

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S1
Symposium:

The power of the voice for singer and listener

Convenor: Davidson, J

Chair: Davidson,J.

S2
Symposium:

Assessment of children's music compositions: in looking out and out looking in

Convenor: Webster, P.

Chair: MacDonald,R.

S3
Symposium:

Time in music: from psychoacoustics to cognitive psychology

(Second session)

Convenors: Drake,C., Palmer,C.

Chair: Drake,C.

S4
Thematic Session:

Music and evolution

Chair: Baroni,M.

S5
Symposium:

Current trends in the study of music and emotion

Convenors: Juslin,P.& Zentner,M.

Chair: Juslin,P.

Discussant: Sloboda,J

S6

Thematic Session:

Timbre

Chair: Yi, S.W.

9.00

Coimtra, D.

Understanding the artist: exploring how singers are evaluated

Webster, P.

Formal approaches to the evaluation of music compositions of children by external judges: rating scales, rubrics and other techniques

(Abstract)

Madison, G.

Drift and timing variability in isochronous interval production with and without music imagery

(Abstract)

Bannan, N.

Prosody, meaning and musical behaviour

Zentner, M.

The nature of musical emotions: a perspective from psychology

(Abstract)

Vassilakis, P.

Auditory roughness estimation of complex tones

9.30

Salgado, A.

Voice, Emotion and Facial Gesture in Singing

Hickey, M.

The use of consensual assessment in the evaluation of children's music compositions

Brochard, R.

Functional imaging of rhythm perception

Merker, B.

The birth of music in synchronous chorusing at the hominid-chimpanzee split

Peretz, I

Is the emotional system isolable from the cognitive system in the brain?

(Abstract)

Turgeon, M.

The perceptual organisation of complex tones in a free field

10.00

Magee, W.

The voice in therapy: monitoring disease process in chronic degenerative illness

Mellor, L.

Children's perception of their own music compositions

Large, E.

On the persistence of metrical percepts

(Abstract)

Cross, I.

Music in Human evolution

(Abstract)

Trehub, S.

Musical emotions: a perspective from development

(Abstract)

Kendall, R.

Musical timbre beyond a single note: tessitura and context

(Abstract)

10.30

Meadows, D.

Singing on high: investigating the use of singing in Christian worship

Seddon, F.

Influences of formal instrumental music tuition on adolescent self-confidence and engagement in computer based composition

 

Scheirer, E

On the perceived complexity of short musical segments.
Presenter: Vercoe, B.

Juslin, P.

Towards a computational model of expression in performance: the GERM model

(Abstract)

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11.30

Invited Speaker: Scherer, K.
Music and emotional meaning: Perception and production rules
Chair: Peretz, I.

 

 Wednesday 9th Afternoon Session

14.00

Poster Session 3

Demonstration paper session 2

S1
Symposium:

Children's compositions: understanding the process and outcomes.

Convenor: MacDonald, R.

Chair: Miell,D.

Discussant: Folkestad, G.

S2
Thematic session:

Perception of harmony and tonality

Chair: Deliege,I.

S3
Thematic session:

Music and meaning

Chair: Ohgushi,K.

S4
Thematic session:

Computational models

Chair: Belardinelli,M.

S5
Symposium:

Current trends in the study of music and emotion

Convenors: Juslin, P., Zentner, M.

Chair: Zentner,M.

Disscussant: Scherer, K.

S6
Thematic Session:

Music and movement

Chair: Desain,P.

15.30

Seddon, F.

Adolescent engagement in computer-based composition: an analysis of the process of composition

Krumhansl, C. & Toiviainen, P.

Dynamics of tonality induction: a new method and a new model

 Dibben, N.

Making music mean

(Abstract)

Povel, D.

Towards an on-line model of music perception

Juslin, P.

Emotional expression in speech and music: different channels same code?

Bangert, M.

How to get a piano into your head: effects of practice on cortical and sub-cortical representations of the sounding keyboard

(Abstract)

16.00

MacDonald, R.

An empirical investigation of the social and musical processes involved in children's collaborative compositions

Bigand, E.

More about the (weak) differences between musicians and non-musician's abilities to process harmonic structures

Coward, S.

Deriving meaning from sound: an experiment in ecological acoustics

Piat,F.

Artist: a connectionist model of musical acculturisation

Schubert, E.

Unresolved issues in continuous response in methodology

Todd, N.

A sensory-motor theory IV: vestibular responses to music

(Abstract)

16.30

Byrne, C.

Developing processes based on inventing activities: a spider's web of intrigue and creativity

(Abstract)

Fineberg, I.

Similarity judgements for harmonic phrase units: the relevance of the harmonic features and subtle rhythmic manipulations

(Abstract)

Horton, T.

Musical meaning and theories of tonal structure

(Abstract)

Davis, S.

Implied polyphony in the unaccompanied string works of J.S. Bach: a rule system for discerning melodic strata

Gabrielsson, A.

Emotion recognition and emotion induction: parallels and contrasts

(Abstract)

Stevens, K.

Choreographic cognition: composing space and time

17.00

Morgan, L.

Children's collaborative music composition: communication through music

Parncutt, R.

Effect of temporal context on pitch salience in musical chords

(Abstract)

Cox, A.

The mimetic hypothesis and embodied musical meaning

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Gruhn, W.

The relation of body movement and voice production in early music learning