Edition 10: September, 2018

Page 1

Australian Music & Psychology Society

September, 2018

Edition 10

Australian Music & Psychology Society Newsletter Long time no see... After a short break, it’s very exciting to be able to bring you this 10th issue of the AMPS Newsletter. Indeed, it has been an exciting time for most of our editorial committee, all of whom have been in somewhat of a transition phase. Some are in the process of finishing a PhD, while others (like myself) have just started one. We’ve also gained two new people who, arguably, are now in a transition phase towards being members of the editorial team. You may hear more from them in the coming issues. Although it’s all been very exciting for us, it has meant the AMPS Newsletter has taken a bit of a backseat while we sort our lives out. If you’re interested to know more about us, and what we’ve been up to, you can head over to page six. This issue features a mixed bag of topics. Eline Smit gives us an overview of her doctoral research, having recently moved to Sydney from the Netherlands. Anna Fiveash, who has recently moved away from Sydney to France, discusses the interactions between syntax and timbre. In response to the numerous sporting events that have happened this year (Winter Olympics and a World Cup), Rebecca Gelding has a look at the role of music in sport, which would surprise my teenage, sport-avoiding, music-nerd self. Hopefully you’ll find something of interest there as well! Since our last issue there have been a number of interesting conferences, two of which are reviewed in these very pages. Alana Blackburn presents a summary of a little meeting in York, at which our own Peter Keller presented a remote keynote. Rebecca Gelding then reflects upon the recent ICMPC15 conference, held simultaneously in Sydney, Graz, Montreal and La Plata. Many had mixed feelings about this multi-node format initially, but the mood was overwhelmingly positive at the Graz hub where myself and some other nomadic Australians ended up. Time will tell whether this model is adopted more widely. We must also mention the AMPS conference in Brisbane at the end of last year. I had the good fortune to attend, and greatly enjoyed a slickly organised conference on the beautiful campus at the University of Queensland. AMPS conferences are always a treat, thanks to the friendliness of the Australian Music Psychology research community. Luckily, there will be another one coming up in 2019, combined with the International Symposium on Performance Science. You can find out more about that on the back page, as expressions of interest are now open, and a call for papers will follow shortly. We look forward to seeing you there! Finally, as always, we rely upon submissions from the Australian (and international) music psychology community, and heartily welcome any short articles you might care to write. We’re happy to re-publish content that you may have already published on a blog or on The Conversation, and we are also open to publishing student essays. Happy reading and see you in December! Cheerio, Joshua S. Bamford

Inside this issue Mood in unfamiliar tonality ........ 2 When timbre gets in the way ..... 3 Let’s get physical! ....................... 4 Conference: Together in music ... 5 Who is the AMPS Newsletter? .... 6 Conference: ICMPC15................. 8 AMPS/ISPS 2019 ......................... 10

Calendar of events • 12th of November, 2018. Articles for AMPS newsletter due. Submissions should be between 500 and 1000 words and may report original research, opinion or summary of others’ research. Submissions to: editors.AMPS@gmail.com

Editorial team Joshua Bamford, Anna Fiveash, Rebecca Gelding, Solange Glasser, Rebecca Lancashire, James Richmond, Eline Smit.

Previous AMPS Newsletters can be found at https://issuu.com/ ausmuspsysoc For more about AMPS, find us on social media!

Musical affect in unfamiliar tonal systems Eline Smit (Western Sydney University) e.smit@westernsydney.edu.au Imagine a situation in which a musical piece changed your mood. Maybe you were at a party and a cheerful song caused you to smile and dance, or maybe you were watching a movie scene accompanied by sad instrumental music, causing you to tear up. Affective responses towards music are often associated with the music containing major and minor chords. Are these responses caused by intrinsic aspects of the major and minor chords themselves or are they dependent on learned associations between the music and one’s environment? Do these associations continue to exist when familiarity and context are removed and is it possible to reshape affective responses towards major and minor when they originate from an unfamiliar musical system? Wait, major and minor from an unfamiliar musical system? Are major and minor not deeply associated with the Western musical system that we are so familiar with? Yes, they certainly are, but there is a musical system which uses chords that share analogies with our familiar major and minor chords: the Bohlen-Pierce system. Discovered independently by Heinz Bohlen, Kees van Prooijen and John Robinson Pierce in the 1970s and 1980s (Bohlen, 1978; Mathews, Roberts & Pierce, 1984; van Prooijen; 1978), it is an extremely interesting system for research purposes. The Bohlen-Pierce system is a so-called macrotonal musical system, meaning it does not contain step sizes smaller than a semitone (or 100 cents) and it is based on odd-integer ratios only (e.g. 3:5:7). Our well-known Western systems, such as the diatonicchromatic system, use both odd and even-integer ratios. Another particularity of this scale is that it does not use the octave as a repetitive interval (2:1), but an interval called the tritave (3:1). The tritave sounds as an octave plus a fifth, and the chromatic Bohlen-Pierce scale formed within a tritave consists of 13 equally tempered or just intonated tones. From these 13 notes, a variety of scales can be formed. Probably the most common one is the Lambda scale, which can be generalized to the Western diatonic scale. This scale is constructed from the Bohlen-Pierce major and minor chords in a similar way the diatonic scale can be constructed from Western major and minor chords. These properties make the Bohlen-Pierce a very interesting system to study with regard to mechanisms behind music perception. However, only a handful of studies have used this scale in experiments so far, despite its potential (see e.g. Loui & Wessel, 2008; Mathews et al. 1988; Roberts & Mathews, 1984). Regardless of the limited quantity of this research, it has become clear that the Bohlen-Pierce scale and its major and minor chords have certain harmonic properties in common.


To bring this back to affective responses, it is well-known that we tend to associate major and minor chords with happy and sad affect. There is no consensus as to whether this association is caused by something intrinsic in the music itself, or something extrinsic and a result of training and exposure. As the Bohlen-Pierce major and minor chords are unfamiliar to most of the population, it will be possible to separate effects of familiarity and training and therefore discover the relative contributions of familiarity and training to major and minor chord perception. The goal of my research is therefore to find out the underlying mechanisms of happy and sad responses to major and minor chords, using the Bohlen-Pierce system. As a PhD student who just started her journey, I cannot provide you with the answers yet, but hopefully will by the end of this three-year journey. At least I hope to have offered some food for thought and I can definitely recommend googling this system to get an idea of what it sounds like! To give you a head start, here are two websites that are worth exploring: http://www.huygens-fokker.org/bpsite/ http://www.ziaspace.com/_academic/BP/ References Bohlen, H. (1978). 13 Tonstufen in der Duodezime. Acustica, 39, 67-86. Loui, P., & Wessel, D., & Hudson Kam, C.L. (2010). Humans rapidly learn grammatical structure in a new musical scale. Music Perception, 27(5), 377-388. Mathews, M.V., Pierce, J.R., Reeves, A., & Roberts, L.A. (1988). Theoretical and experimental explorations of the Bohlen-Pierce scale. Journal of the Acoustical Society of America, 84(4), 1214-1222. Mathews, M.V., Roberts, L.A., & Pierce, J.R. (1984). Four new scales based on nonsuccessive-integer-ratio chords. Journal of the Acoustical Society of America, 75, S10 (A). van Prooijen, K. (1978). A theory of equal-tempered scales. Interface, 7(1), 45-56.

When timbre gets in the way of melodies: The role of disrupting auditory streams with changes in timbre Anna Fiveash (University of Lyon, CNRS, France) anna.fiveash@inserm.fr Your hearing is one of the only senses that you cannot easily ignore. You can close your eyes to stop watching a scary movie, block your nose if there is a suspicious smell, spit something out if it tastes bad, and stop touching something if it is painful. However, based on our evolutionary need to always be aware of what’s occurring in our environment, we are almost always tuned into the sounds in our auditory scene. With the vast amount of acoustic information available at any one time, it is necessary for the brain to categorise and process the various sources of information. We need to localise where a sound is coming from and group similar sounds together, so we can tell that an approaching lion is coming from our left, or our phone is ringing from the kitchen. This process of grouping acoustic, perceptual information into meaningful percepts is called auditory streaming (Bregman, 1990). One of the main cues to auditory streaming is timbre. Timbre is that element of sound that distinguishes two instruments playing the exact same note at the exact same loudness level (McAdams, 2013), or two voices speaking the same words. Timbre therefore helps us to organise our auditory scene, and group incoming auditory information into distinct auditory streams. Timbre is clearly important to music and speech processing; however, it is unclear how it is connected to the processing of syntax or structure in these domains. Syntax is the system of rules and regularities that governs how notes can be combined to form melodies, or how words can be combined to create sentences (Patel, 2008). In other words, the rules of syntax allow us to know when a sentence is not grammatically correct (did they mention a lions earlier?), or when a musical note doesn’t sound right (an accidental F# in a C major sequence!). A recent study run at Macquarie University in Sydney found that there are some important connections between auditory streaming, timbre, and syntax. Participants listened to melodies and sentences while electroencephalography (EEG) was recorded. The authors manipulated timbre in the sequences. Melodies and sentences could have either one timbre (piano; one voice), or three timbres (piano, vibraphone, acoustic guitar; three

different female voices). You can listen to some example stimuli here (https://osf.io/ cbx49/). The results revealed that both behavioural and electrophysiological responses to out-of-key notes were reduced when melodies were played with three timbres compared to one timbre. Although a similar pattern was observed for the sentence stimuli, this result was not significant. So what does this mean in terms of auditory streaming and syntax? It appears that the alternating timbres disrupted cues to auditory streaming, rendering the melody less coherent. Once it was difficult to group the melody as originating from the same source, syntactic processing of the melody was reduced (e.g., the out-of-key notes were not processed as strongly in the brain). This study shows that at a very early stage of processing, timbre cues and syntactic structure building may interact. This is interesting, as it sheds light on the early processes involved when we first perceive an incoming, syntactic sequence, and how it can be disrupted. It might also mean that music with lots of different instruments should be carefully composed so it’s clear which instrument is playing which part! You can view the full article here: https:// www.sciencedirect.com/science/article/abs/ pii/S0167876017302829 Fiveash, A., Thompson, W.F., Badcock, N.A., McArthur, G. (2018). Syntactic processing in music and language: Effects of interrupting auditory streaming with alternating timbres. International Journal of Psychophysiology, 129, 31-40 . doi: 10.1016/ j.ijpsycho.2018.05.003 References Bregman, A. S. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: MIT Press. McAdams, S. (2013). Musical timbre perception. In D. Deutsch (Ed.), Psychology of Music. USA: Elsevier, Inc.

In the media What is Music? Triple j. Featuring many AMPS members, this series of interveiws covers a range of music psychology questions for a general audience. Death metal: It’s not true that nobody understands the words. ABC News. Research by Bill Thompson Educating Australian musicians: Are we playing it safe? Health Promotion International. Research by Suzanne Wijsman and Bronwen Ackermann into teaching music students to manage their health. How augmented reality may one day make music a visual, interactive experience. The Conversation. In conversation with Ben Swift, Clint Bracknell and Hollis Taylor. Music anhedonia and white matter. So Strangely Podcast. Finn Upham’s new series on a range of music science topics. The Mozart Effect (that’s not a thing). Instru(mental). A new podcast series featuring music psychology research. How music lessons can improve language skills. MIT News. Speech processing improved by music lessons. Technology Networks. New research shows music helps develop working memory. NYS Music. Using music therapy at the end of life. Capital Public Radio. Your Spotify history could help predict what’s going on with the economy. The Conversation.

Patel, A. D. (2008). Music, language, and the brain. New York: Oxford University Press.


Upcoming Conferences Meter Symposium 3, Sydney, Australia, 24-25 November 2018. Conference on Interdisciplinary Musicology, Poznan, Poland, 17-20 October 2018. International Symposium on Performance Science (ISPS) 2019, Melbourne, Australia, 16 -20 July 2019. 4th International Conference of Dalcroze Studies, Katowice, Poland, 28 July—2 August 2019. SysMus19, Berlin, Germany, September 2019. Conference on Interdisciplinary Musicology, Graz, Austria, 2628 September 2019. Timing Research Forum 2, Queretaro, Mexico, 23-25 October 2019. 11th Triennial ESCOM Conference, Sheffield, UK, 25-28 July 2021.

Timing Research Forum The Timing Research Forum was established to promote multidisciplinary research on timing and time perception. It organises annual conferences and has a regular newsletter to promote the activities of its membership. More info: timingforum.org

Join the conversation! It’s nice to think that this newsletter might spark some discussion later. Don’t hesitate to jump on Twitter and send your thoughts to @AusMusPsySoc and #musicscience or post in our Facebook group.

Let’s get physical! Rebecca Gelding (Macquarie University) rebecca.gelding@students.mq.edu.au Sport was never my thing. I was the nerdy one at school who was into maths and science, and everything musical, but never sport (I hear you—ed). So it still surprises me when I wake up at 6am, grab my tunes and head out for a run in the morning. But of course, the crucial step in the morning ritual is grabbing my tunes. No music? No run for me. And I’m pretty sure I’m not alone in that… In fact, I still remember watching the winter Olympics earlier this year, and learning that some snowboarders seemed to have an unfair advantage when competing …. they are using music to help them. Whether its ACDC (for Australian Snowboarder Scotty James), Migos (for Women’s halfpipe Gold medalist Chole Kim) or Post Malone (for Men’s halfpipe Gold medalist Shaun White) – time and again these athletes were competing with ear buds in and music blaring. So why does it help? Motivation and entrainment are two potential explanations. But is this only at the elite level? Could it have an advantage for us nonOlympians too? It seems time and again the answer found is YES. A recent paper by Paul Elvers and colleagues had 150 participants complete a ball throwing task at various distances from a target. In round 2 participants choose their own distance to the target to throw from (and hence a measure of risk-taking behavior was obtained). They scored points for accurate throws. Importantly, while doing this they were either listening to their own motivational playlist, one made by the experimenters, or no music. They found that music listening didn’t make you better at the task – but it did increase the self-esteem of people who were doing well. It was also related to increased risk taking behaviour, particularly for the males who got to pick their own music. So the link between music and sports performance doesn’t appear straightforward, and motivation and emotion play an important role. Have you ever taken part in a spin / cycle


class at the local gym? Turns out sprint interval training on a bike (30 seconds flat out, followed by 4 mins rest (x4)) is actually pretty good for you, health wise, but is not that fun while actually doing it. Matthew Stork and colleagues investigated the effect of music on both performance and enjoyment of this type of sprint interval training. They found music enhances in-task performance and enjoyment during bouts of such training. They concluded that listening to music during such intense interval exercises might be an effective strategy for firstly getting started, and secondly sticking with, this type of training. Which may explain why the spin class at the gym always has the music blaring so loudly… But what about my morning run? Even the humble jog around a track seems be enhanced with a soundtrack. In one study participants ran around a track to no music, then again to music whose tempo matched their natural running cadence. The tempo of their music was then increased or decreased by less than 4%, such that it was imperceptible – however it lead to corresponding changes in tempo of running cadence. The authors argue that music tempo can spontaneously impact running cadence, and that the effect was particularly stronger for women than men. Where does that leave us? If you are heading out to do some exercise, then don’t forget your iPod or phone. Perhaps you’d even like to plan your playlist to maximize performance. But even if you don’t have your earphones handy, you can always do what snowboard cross racer Hagen Kearney does – “I have a song in my head…” Ooooohhhhh… musical imagery in sports, now that is a project just ripe for study!

Conference report: Together in music 2018 Alana Blackburn (University of New England) alana.blackburn@une.edu.au The first Together in Music conference was held 12th-14th April at the National Centre for Early Music in York, UK. The conference was organised within the context of the White Rose College of the Arts and Humanities funded network ‘Expressive nonverbal communication in ensemble performance’, established in 2015 by academics from Leeds, York and Sheffield Universities. The focus of the conference was based on three research areas explored by the network: timing and synchronisation; rehearsal strategies and patterns of communication in self-directed ensembles; and technology assisted collaboration and communication in music. The two-and-a-half-day program was filled with keynotes by Peter Keller (MARCs Institute, University of Western Sydney) and James Saunders (Open Scores Lab, Bath Spa University), movement workshops, a research seminar, paper presentations, poster presentations, and performances. As there was only one stream, the participants were able to hear all of the great presentations which resulted in a lively discussion amongst the delegates. Selected highlights: The first day involved discussions surrounding topics of education, reflection on practice, and rehearsal. Papers explored aspects of ensemble performance teaching in higher education, creative practitioner as researcher, the use of metaphor in string quartet rehearsal communication, communication and interaction in ensemble playing, and the use of technology to explore large ensemble performance. The first keynote from Peter Keller was via live video stream. He presented his work on the psychological processes and brain mechanisms that enable interpersonal coordination in ensemble performance. After the keynote, Chris Terepin from King’s College London presented a seminar on the historical paradoxes in the rhetoric and practice of quartet playing. Day 2 covered sessions on timing and synchronisation, gesture, and social well-being. The second keynote from James Sunders discussed the social behaviour of musical performers including decision-making and heuristics, intergroup conflict, consensus, and community formation. Following the keynote, the delegates participated in a workshop by Daniel Galbreath (Royal Birmingham Conservatoire) and Gavin Thatcher (Royal Holloway) addressing the experiences of unified vocal and physical expression. We encountered our embodied voices through a series of exercises that focused our attention on how our body, breath and voice are interrelated. Through these activities, our awareness was shifted from self-in-space

to self-with-others. To end the day, we took part in another workshop, this time facilitated by Michael Bonshor from the University of Sheffield. Bonshor’s ‘Confident Choir’ workshop aimed to assist with confidence building for singers (and conductors) through exercises for relaxation, breathing, and postural work. The workshop also included musical team building exercises to encourage cohesion, co-operation and collaboration. We walked, danced and sang together getting to know each other quite well! That evening we shared a meal with each other while listening to performances by two ensembles form the University of York: The Assembled, a contemporary improvisatory and experimental ensemble, and The Yorkshire Programming Ensemble (TYPE), a laptop ensemble that experiments with improvisational music making through live coding. Both ensembles provided different approaches to improvisation and experimentation through the perspectives of ‘traditional’ and ‘contemporary’ performance practices. There were only two paper sessions on the final day covering topics related to creativity and communication, and ensemble interaction. Technology as a group experience was introduced, and the use of musical notation and composition in therapeutic arts workshops was discussed. The day ended with a round table symposium about ensemble performance – in particular, new research trends and the implications of this research for education and technology. The topics discussed at the TIM18 round table included: theoretical advancements in aspects of communication vs. interaction; the bodymind environment continuum; the role of expectations, support, communication and interaction; and synchronisation before and after culture. Within these topics, the applications and implications addressed after the conference incorporated enhancing a sense of social belonging, enhancing educational processes, and leadership. A number of questions were raised which included detail of what is talked about in communication during rehearsal, how leadership is distributed, whether educational ‘value’ can be tested before implementation, and the educational value of case studies. The areas of research presented at this conference within this growing field have certainly produced some rewarding thought and discussion amongst scholars. I hope the network can continue to grow, and that we see further developments in this area.


Who is the AMPS Newsletter? Joshua S. Bamford Originally working as an opera singer and circus skills instructor in his home town of Perth, Joshua has since studied the psychology and neuroscience of music at universities in Australia, Finland, and Austria. He now finds himself in the Social Body Lab at Oxford University, where he is currently using principles from neuroaesthetics to investigate the social bonding effects of synchronised movement. In his spare time he edits newsletters, and dances the Lindy Hop.

Anna Fiveash Anna Fiveash is currently working as a postdoctoral researcher at the Centre National de la Recherche Scientifique, Claude Bernard Université 1, in Lyon, France. On top of madly trying to learn French so she can successfully buy croissants, she is investigating the cognitive processes involved in the processing of music and language rhythm, and whether rhythmic music can prime subsequent language processing. She completed her PhD entitled The Nature of Syntactic Processing in Music and Language at Macquarie University in September 2017, and continues to be interested in all things music/ language related.

Rebecca Gelding I'm still...yes... still... doing my phd at Macquarie University (started part time in 2013).Good news is I'm on the home stretch now and should be submitting later this year. My topic is the neural correlates of musical imagery, and I've used magnetoencephalography in 2 experiments to measure brain activity whilst participants imagined different pitches and rhythms. I'm really interested in what the auditory and motor regions are doing during imagery, and how this compares to perception. What I love most about being part of the #musicscience field is meeting and working with so many incredible people. When I'm not Phd-ing I'm often found on twitter (@rebeccagelding) or looking for bargains in op shops.

(not-quite-Dr) Solange Glasser In April this year I submitted my doctoral dissertation, which examined the impact of synaesthesia and absolute pitch on musical development, and am now in the enviable position of living in post-submission limbo. I did, however, subsequently take up a full time position at the Melbourne Conservatorium of Music, where I am currently developing a new online breadth subject entitled Creativity, Genius, Expertise and Talent. I am also organising next year’s AMPS conference – combined with the International Symposium on Performance Science (ISPS) – that will convene in Melbourne in July, 2019. It’s going to be a blast, so I look forward to seeing you all there!


Rebecca Lancashire I am currently studying for my MA Psychology of Music at The

University of Sheffield, UK. I have been on maternity leave to have my beautiful little boy but hope to complete the degree later this year, before moving on to my PhD. My primary interests include musical imagery, music and health, and music cognition. I am currently working with the Ligeti Quartet to explore group dynamic and interaction within string quartets. I hope to expand this project next year to explore other musical ensembles from duos right through to orchestras. Additionally, I am focusing on the role of expectation in music, and will be using my MA dissertation to examine the contribution of conditioned stylistic knowledge and inherent structural properties to emotional responses to music, linked to expectation.

James H. Richmond Graduating from the Victorian College of the Arts, James performed regularly with the Melbourne Symphony Orchestra and Orchestra Victoria, before travelling overseas to study and perform. James has taught instrumental and group music from primary to tertiary level for over fifteen years, authored a teaching manual, and delivered concerts and professional development workshops for the Musica Viva in Schools program. James is now a registered psychologist, member of the Australian Music and Psychology Society, who conducts drumming groups to enhance mental health and is in the final stages of his doctoral research, at the University of Melbourne, into the pro-social consequences of rhythmic synchronisation.

Eline Smit Eline Smit is a Dutch PhD student at the MARCS Institute for Brain, Behaviour and Development, Western Sydney University. Her project focuses on affective evaluation of major and minor chords from an unfamiliar musical system by examining whether the association of the concept of major and minor with happy and sad affect is intrinsic to psychoacoustic aspects in the music and/or whether this is learned. Eline is also a graduated classical pianist and a cycling enthusiast.


Conference Report: ICMPC15—Sydney Rebecca Gelding (Macquarie University) rebecca.gelding@students.mq.edu.au Like many of us, last month I attended the International Conference on Music Perception and Cognition Sydney Hub hosted by Emery Schubert and his amazing team of volunteers. In an ambitious move, the conference was the first international multi-hub conference happening 24/7 over a period of several days. There have already been some great write ups about the conference, so below are just some personal highlights from a Sydney perspective. Sylvie Nozaradan’s keynote was brilliant, not only for the fantastic science so clearly presented, but for the international question time with both Montreal and La Plata. This was the talk that felt the most international for me, to see such big crowds at the other hubs and to have question time afterwards run so smoothly. It was so lovely to see Early-Mid Career Researchers giving the keynotes too, at all the hubs; something that is not always the case in other conferences. Other great presentations from the Sydney hub included Amanda Krause’s talk on music listening and stress – and the interesting finding that Australians were less likely to listen to music to cope with stress than Americans… which begs the question, what are we Aussies using instead??? I loved the interesting session on perfect pitch with Solange Glasser on synaesthesia and redefining perfect pitch, as well as Jane Bairnsfather on quasi-absolute pitch. Stephanie MacArthur also shared touching examples of children’s creativity and imagination in learning to play the cello. There were of course so many great talks at the Sydney Hub to mention, so I encourage you to catch up on any you missed. The nature of the multi-hub conference meant that each day began at 8:30am and went until approximately 12:30pm, with a break until 4:30pm and talks again until 8:30pm. It made for very long days, with quite a lull in the middle. Mind you, some of us made sure to make the most of the break time for socialising over Pimms in the sunshine, which for Sydney’s winter was actually pretty perfect.

While we didn’t have a banquet in a ballroom for our conference dinner, or trips to wine regions, 36 of us did have a very enjoyable conference lunch at a restaurant on Coogee Beach.

From Sydney we beamed in one session overseas on the big screen (live where possible, or delayed if everyone else in the world was asleep). To be able to ask a question in real time to someone in another hub was made effortless thanks to the amazing technical teams working non-stop throughout the conference. I personally loved the Musical Imagery session from Graz that I streamed through YouTube and watched live on my commute home in the late afternoon. I managed to watch both Ioanna Filippidi’s and Freya Bailes’ excellent presentations live as I sat on the train whizzing through Sydney, which was kind of amazing, and very memorable. Probably the biggest benefit of having all talks recorded means that we can catch up on talks we missed. Some of my favourites (and again, there were so many!) included: Tommi Himberg’s talk about the Rhythm Battle games for exploring group behaviour and synchronisation; Peter Harrison’s talk which compared different models of how people complete harmonic expectation tasks, and evidence for statistical learning rather than auditory working memory models; Finn Upham’s talk on audiences breathing together; Daniel Mullensiefen’s talk on understanding the development of musical abilities and the LongGold project; and Lizette Heine’s talk on acoustic changes to music (adding effects to make it sound like the music is in front of you rather than inside your head when listening through headphones) that affect the brains own name discrimination responses. There are still so many that I want to watch! I must admit, once I had watched the talks relevant to my own research, I then started searching the timetable for familiar names I knew from twitter – which is perhaps an indication that if you aren’t yet the tweeting type you should definitely check it out. There was certainly a lot of #ICMPC15


twitter action from the Sydney Hub thanks to Amanda (aka @ResearchListening)!

be combined with the mentoring sessions that AMPS conferences have had in the past, where a more senior researcher is paired with a few students and early career researchers to have a chat over coffee during a break time. Hopefully next time if the multi-hub conference format is repeated there could be a coffee/cocktail networking and mentoring in the morning/evening!

But what was really missing from this conference was tangible connection to other hubs in meaningful social ways; this is, after all one of the main points of a conference. Yes, it looks good on your CV to have presented at an international conference, but if all you do is turn up, talk and leave, then you are missing out on the biggest advantage of an international conference: the fact that a whole bunch of researchers in your field – future collaborators, bosses, reviewers, students – are in the same place at the same time, with opportunity to mingle with them! We can watch the YouTube talks online later, but conference break times are what conferences are all about. The organisers knew this and tried to have a Global Foyer in operation to allow for international chats. It was great to have a meet up in the Global Foyer with AMPS member and now post-doc in Lyon, Anna Fiveash in the Graz hub, but I think everyone agrees the Foyer was under-utilised.

Attendees in Sydney

Australian attendees in Graz

Multiple live streams, viewed in Graz For future conferences in this format, Amanda Krause and Simone Maurer had the great idea to have a “speed-dating” set up where people can opt into going and then meet new people in a more structured way. This could even potentially

See also This review of the ICMPC15 Graz hub, by Kelly Jakubowski


ISPS/AMPS 2019 Melbourne Conservatorium of Music 16/7/19—20/7/19

Australian Music & Psychology Society (AMPS) AMPS was formed in 1996 and since, has grown steadily. It now represents the national body of researchers in this field, and is a member of APSCOM. The idea to form a psychology and music society came about during the Fourth International Conference on Music Perception & Cognition (ICMPC4) held at McGill University, Montreal. At that meeting, there was interest for ICMPC to be held in Australia. The first step was to form a group that could coordinate the organization of such an event and to form a music and psychology society similar in focus to those in Europe (ESCOM), Japan (JSMPC), and the United States (SMPC). Our aim is to bring Australian researchers together and to represent Australian research overseas. The members of AMPS regularly meet to discuss research, with local and overseas presenters addressing a variety of topics. These have ranged from psychophysics and psychoacoustics, cochlear mechanics, rhythm and pitch perception, to emotional responses to music, musical development, skill acquisition, and social aspects of ensemble performance. At present our Seminar Series, Music Auditory Cognition & Mind (MACAM), meets regularly at The University of Melbourne. We welcome new members, students and researchers alike. Membership is free! Becoming a member is as simple as joining our mailing list.

The International Symposium on Performance Science (ISPS) is a biennial meeting of performers and scientists that provides a platform to discuss all facets of performance and the skills which underpin it from interdisciplinary perspectives through topics such as motivation and the development of expertise, novice to elite levels of performance development, the psychology and physicality of performance, performers’ health, and the perception, analysis, and evaluation of performance across the arts, as well as the natural, social, and applied sciences. ISPS 2019, convened by Professor Gary McPherson and Dr Solange Glasser (Melbourne Conservatorium of Music) and Professor Aaron Williamon (Royal College of Music, London) will be held in Melbourne, Australia at the Melbourne Conservatorium of Music on Southbank in the heart of Melbourne July 16-20, 2019. The previous symposia in Porto, 2007, Auckland, 2009; Toronto, 2011; Vienna, 2013; Kyoto, 2015; and Reykjavík, 2017 attracted delegates from over 30 countries to discuss performance excellence from a wide array of theoretical, practical, psychological and physical perspectives. Please register your interest using the following link: https:// www.eventbrite.com.au/e/register-interest-international-symposium-onperformance-science-2019-tickets-45012751351 You will receive an e-mail in August/September 2018 announcing the: • Symposium Theme • Keynote Speakers • Call for Abstracts - presentations, posters, etc. • Graduate paper award and Graduate poster award

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