Integrated Methods

Tröndle, Martin; Greenwood, Steven M.; Ramakrishnan, Chandrasekhar; Uhde, Folkert; Egermann, Hauke; Tschacher, Wolfgang

doi:10.1093/oxfordhb/9780198824350.013.18

Cited by 4 publications

(5 citation statements)

References 1 publication

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“…The research project “ECR—Experimental Concert Research” investigates concert experience from different angles, joining musicology, cultural management and psychology 23 , 24 . A series of eleven concerts were organized in April and May of 2022 in the two venues Pierre Boulez Saal and Radialsystem in Berlin, Germany.…”

Section: Methodsmentioning

confidence: 99%

Physiological audience synchrony in classical concerts linked with listeners’ experiences and attitudes

Tschacher,

Greenwood,

Weining

et al. 2024

Sci Rep

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A series of eleven public concerts (staging chamber music by Ludwig van Beethoven, Brett Dean, Johannes Brahms) was organized with the goal to analyze physiological synchronies within the audiences and associations of synchrony with psychological variables. We hypothesized that the music would induce synchronized physiology, which would be linked to participants’ aesthetic experiences, affect, and personality traits. Physiological measures (cardiac, electrodermal, respiration) of 695 participants were recorded during presentations. Before and after concerts, questionnaires provided self-report scales and standardized measures of participants’ affectivity, personality traits, aesthetic experiences and listening modes. Synchrony was computed by a cross-correlational algorithm to obtain, for each participant and physiological variable (heart rate, heart-rate variability, respiration rate, respiration, skin-conductance response), how much each individual participant contributed to overall audience synchrony. In hierarchical models, such synchrony contribution was used as the dependent and the various self-report scales as predictor variables. We found that physiology throughout audiences was significantly synchronized, as expected with the exception of breathing behavior. There were links between synchrony and affectivity. Personality moderated the synchrony levels: Openness was positively associated, Extraversion and Neuroticism negatively. Several factors of experiences and listening modes predicted synchrony. Emotional listening was associated with reduced, whereas both structual and sound-focused listening was associated with increased synchrony. We concluded with an updated, nuanced understanding of synchrony on the timescale of whole concerts, inviting elaboration by synchony studies on shorter timescales of music passages.

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Section: Methodsmentioning

confidence: 99%

Physiological audience synchrony in classical concerts linked with listeners’ experiences and attitudes

Tschacher,

Greenwood,

Weining

et al. 2024

Sci Rep

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show abstract

“…The research project "ECR -Experimental Concert Research" has the goal to investigate concert experience with a multidisciplinary approach that connects musicology, cultural management, physiology and psychology (Tröndle et al, 2022;Wald-Fuhrmann et al, 2021). A series of eleven concerts were organized in Berlin in April and May of 2022, the initial two concerts in the Pierre Boulez Saal and nine further concerts in the Radialsystem concert hall.…”

Section: Participants and Settingmentioning

confidence: 99%

Associations of aesthetic experiences with listeners' physiology in music segments of live concerts

Tschacher,

Greenwood,

Weining

et al. 2024

Preprint

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A study of 690 participants attending classical public concerts was conducted with the goal of analyzing the associations between self-reported aesthetic experiences and listeners' physiological responses. The concerts staged chamber music by Ludwig van Beethoven, Brett Dean, and Johannes Brahms. Participants' physiological signals were recorded with wearable sensors during the concerts. After the concerts, music segments were individually presented to participants, and the participants' experiences of the music segment were obtained using the Aesthetic Emotions Scale.

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“…Laura Bishop (LB), a music performance researcher, who according to the MusicLab leadership was vital to the more hypothesis-driven experiments, would have found overall project control too daunting a task. The management of interdisciplinary projects tends to require extra efforts (Tröndle et al, 2022), and LB noted that engineer Kayla Burnim took on an important role in planning the details and logistics of the project.…”

Section: Organization Aims and Motivationsmentioning

confidence: 99%

“…So I was kind of stepping in to try to make sure that some stuff could go more smoothly.” FU never expected to be in the sort of leadership role they ended up with: “It wasn’t a problem, and I don’t think there was any tension around that, but it was kind of a surprise to me.” Laura Bishop (LB), a music performance researcher, who according to the MusicLab leadership was vital to the more hypothesis-driven experiments, would have found overall project control too daunting a task. The management of interdisciplinary projects tends to require extra efforts (Tröndle et al, 2022), and LB noted that engineer Kayla Burnim took on an important role in planning the details and logistics of the project.…”

Section: Organization Aims and Motivationsmentioning

confidence: 99%

“MusicLab Copenhagen”: The Gains and Challenges of Radically Interdisciplinary Concert Research

Danielsen,

Paulsrud,

Hansen

2023

Music & Science

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The pioneering “research concerts” of recent decades represent prime examples of interdisciplinary music research. MusicLab Copenhagen, a collaboration between RITMO Centre for Interdisciplinary Studies in Rhythm, Time, and Motion at the University of Oslo and the Danish String Quartet was no exception in this regard. This paper aims to document and critically evaluate key components of the project by framing it as a radically interdisciplinary research collaboration. We review the multidimensional differences and similarities between the research traditions involved and report on semi-structured interviews with five key project members. This, in turn, forms the basis for a critical discussion of organizational aspects, aims, values, and overt and covert hierarchies resulting from the meeting of divergent scientific disciplines. Ultimately, we review the practical, epistemological, and theoretical gains and challenges involved in conducting organizationally complex research at the vanguard of interdisciplinarity—both in general terms and within music research in particular. A set of recommendations is provided for conducting successful research concerts, emphasizing, among other things, the importance of providing realistic and artistically satisfying concert experiences while still collecting valid, reliable, and sufficient data; of matching expectations about what can and cannot be achieved and concluded from the collected data; of prioritizing organizational competence and infrastructure, striking a balance between top-down control and bottom-up initiatives; and of recognizing and respecting each other's expertise across the involved research disciplines.

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Integrated Methods

Cited by 4 publications

References 1 publication

Physiological audience synchrony in classical concerts linked with listeners’ experiences and attitudes

Physiological audience synchrony in classical concerts linked with listeners’ experiences and attitudes

Associations of aesthetic experiences with listeners' physiology in music segments of live concerts

“MusicLab Copenhagen”: The Gains and Challenges of Radically Interdisciplinary Concert Research

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