The 13th International Conference of Students of Systematic Musicology (SysMus20)

Peck, Landon S. L.

doi:10.1177/2059204320974215

Cited by 3 publications

(7 citation statements)

References 11 publications

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“…In total, SysMus21 hosted 55 in-person and 119 online participants. The number of participants in 2021 was more than 50 participants at the most recent in-person conference in 2019 (Kirk & Bresler, 2020), or the 60 participants at the most recent fully online SysMus conference in 2020 (Peck, 2020). At the end of SysMus21, 46 participants completed the follow-up survey which indicated that 80% of them were currently studying or working in Europe, 11% in the US or Canada, 4% in South or Central America, and 4% in Australia.…”

Section: About Sysmusmentioning

confidence: 99%

“…The quality of the conference organisation and the content of the presentations was reflected in the increased number of both in-person and online attendees. The organisation also put into practice the experience provided by two years of academic work developed online and the previous fully online conference (Peck, 2020). These were present in the inclusion of the online audience by means of scheduled virtual social activities and mingling sessions.…”

Section: Summary and Closing Remarksmentioning

confidence: 99%

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The 14th International Conference of Students of Systematic Musicology (SysMus21)

et al. 2022

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The 14th International Conference of Students of Systematic Musicology (SysMus21) was held in a hybrid format that allowed both in-person and online participants to join. The SysMus conference series aims to foster a dynamic and interdisciplinary environment for students and early career researchers to share and discuss their work in the fields of systematic musicology and its related disciplines. This year at SysMus21, a total number of 26 oral and 35 poster presentations were held, covering a range of topics including well-being, data science, absorption and imagery, social connections, rhythm and groove, music information retrieval, sociology, cognition, and emotion. An introductory talk was given by Peter Vuust (Center for Music in the Brain, Aarhus University, Denmark), and two keynotes were presented by Jonna Vuoskoski (RITMO Center, University of Oslo, Norway) and Nori Jacoby (Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany). Additionally, four workshops were held by Caitlyn Trevor, Joshua Bamford, Niels Christian Hansen, and Svenja Reiner, focusing on research skills relevant for developing a career in academia. In this report, an overview of the conference is provided including a summary of keynotes, presentations, workshops, and social activities, as well as a review of the advantages and challenges of the hybrid set-up.

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Section: About Sysmusmentioning

confidence: 99%

Section: Summary and Closing Remarksmentioning

confidence: 99%

The 14th International Conference of Students of Systematic Musicology (SysMus21)

et al. 2022

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“…Music has adaptive value, and if the music does have evolutionary origins, it ought to mean that it relates to positive emotions [18]. However, the range of musicrelated emotions' broadness makes it improbable to convey music-related emotions and evolutionary adaptation alone.…”

Section: Everyday Emotions and Music-related Emotionsmentioning

confidence: 99%

“…Musical education is a proponent for responsible risktaking amongst students who study music, primarily through alleviating their feelings of stage fright, a common problem amongst inexperienced performers [21]. By being exposed to the performance environment early, the performers learn to engage with this fear and anxiety, thereby improving the performer's selfconfidence, as well as encouraging the performer to take on environments that are more challenging to them, besides being willing to take content or sonic risks in their music, which enables them to scale new metaphorical heights, increasing their chances of success and attaining their potential [18].…”

Section: Direct Effects Of Music Psychology and Education On Performancementioning

confidence: 99%

“…The primary reason is that the audience will know what it takes to create a piece and therefore appreciate the complexities of the art, making them understand the performance more. For example, an audience made of members who have had experience in the music-making process will know how tough it is to create a piece and will appreciate the performer's efforts even more [18]. Conversely, the audience will also be more critical of an article, and any performance below par will be picked apart.…”

Section: The Effects Of Music Education On An Audience's Reception Of Performed Musical Piecesmentioning

confidence: 99%

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An Analysis of the Possible Significance of Music Education on the Practice of a Performer

Deng¹

2021

Advances in Social Science, Education and Humanities Research

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The direct answer to whether we need music is yes, we do. The more relevant and pertinent question is why we need music. This paper will analyze the relevance of music to the human mind, human emotions, and human social life by focusing on psychological processes associated with musical stimuli. The paper will delve into the roles of music psychology in the psychology field, and in related fields, in three parts:  Auditory perception;  Music cognition; and  Music and musical impact on performance. The paper will also seek to demystify these areas' relation to each other and specifically focus on the impact of these areas of music and music education on music learners and performers. It will also discuss how music education is significant in developing their capabilities in the creation of musical material and the adequate performance of the same, to establish the potential significance of the study of music education on the practice of a music performer.

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The 15th International Conference of Students of Systematic Musicology (SysMus22)

et al. 2023

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The International Conferences of Students of Systematic Musicology (SysMus) are a series of interdisciplinary student-run conferences with the aim of promoting intellectual exchange between early-career researchers in various fields of systematic musicology. In 2022, the 15th conference was hosted by the Institute for Psychoacoustics and Electronic Music (IPEM) in Ghent, Belgium, and was held in a hybrid format, allowing researchers to be present and participate in the events in person and online. SysMus22 comprised 43 posters, 23 presentations, 6 workshops, a panel discussion, musical demonstrations, and 3 musical performances. Topics were as diverse as music cognition, psychology, health and well-being, music theory and performance, technology, and philosophy, among others. Adding to the richness and diversity of topics were keynote lectures given by Psyche Loui (MIND Laboratory, Northeastern University), Mendel Kaelen (Wavepaths), and Rebecca Schaefer (Music, Brain, Health & Technology Laboratory, Leiden University). The whole conference was marked by a friendly, warm, and stimulating atmosphere, encouraging the exchange of ideas between all participants and particularly among researchers at the beginning of their academic careers in systematic musicology. This report provides an overview of SysMus22, the topics it covered, and the format it employed, with a critical discussion of the benefits and challenges posed by the hybrid format.

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The 13th International Conference of Students of Systematic Musicology (SysMus20)

Cited by 3 publications

References 11 publications

The 14th International Conference of Students of Systematic Musicology (SysMus21)

The 14th International Conference of Students of Systematic Musicology (SysMus21)

An Analysis of the Possible Significance of Music Education on the Practice of a Performer

The 15th International Conference of Students of Systematic Musicology (SysMus22)

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