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In this seminar, students from HU Berlin and Durham University will jointly plan, organize and implement an empirical research project with the purpose of gaining insights into the phenomenological experience of live music at the CTM Festival 2020 (https://www.ctm-festival.de/festival-2020/welcome/). The CTM Festival in Berlin is a long-standing partner of the Department of Musicology and Media Studies at HU Berlin and its 21st edition entitled ‘Liminal’ will be held from 24 January to 2 February 2020. With its main focus on “adventurous music and art”, the CTM Festival features an extensive 10-day programme with many different concerts and artists that represent the eclectic mix of today’s experimental music scene.
The field of music psychology has produced valuable insights into how humans perceive and respond to music in performance, with ample opportunities for applications in educational and clinical settings. However, many studies are carried out in artificial settings (i.e. a laboratory) and/or make use of simple manipulated sound stimuli (e.g., sine tones, chord sequences, etc.). Lab experiments and controlled sound stimuli are necessary to investigate causal mechanisms of music listening and the role of acoustical features, but such settings typically suffer from low ecological validity, imposing severe limitations on the generalization of these findings to everyday music listening experiences. Field research is thus necessary to corroborate the existing evidence and to ensure that future lab-based research continues to fortify our understanding of musical experience. Fieldwork (e.g., at a music festival) has not only led to the development of important research tools such as the Geneva Emotional Music Scales (GEMS), but is crucial to capture the cognitive and emotive processes underlying the vast variety of human music making and listening. A particular focus of this Q-Kolleg will be on processes of mental imagery during music listening including mind-wandering, visual imagery, immersion and absorption. (For a more detailed overview of current themes, please have a look at the website of the Music and Imagery Study Group at https://sites.google.com/view/emuvis/home.) The goal of the seminar is for students to become acquainted with the research process from start to finish as it occurs within music psychology. Students will learn standards for pursuing research within music psychology and subsequently develop their own research idea, research question, study design and operationalization, data collection and analysis with the opportunity to publish their findings. The Q-Kolleg will conclude with a final workshop and project presentation at Durham University in June 2020.
Students will gain hands-on experience of conducting an independent empirical research project, and develop skills which are transferable to a career both inside and outside academia. Students will be divided into teams in order to ensure each student’s workload is feasible and to develop skillsets related to group-based projects. Research teams will meet weekly to develop the research activities and will be closely supervised by Dr. Mats Küssner (HU Berlin) and Dr. Liila Taruffi (Durham University). Mixed research teams consisting of HU und Durham students will be encouraged. Meetings will be held in person and/or via Skype. Students from both universities will meet twice in person: once in Berlin for the data collection at the CTM Festival 2020 and once in Durham for the final presentation and workshop.
Please note that this seminar is suitable for 2nd- or 3rd-year students (i.e. third semester or higher).
Entry requirements:
- Basic knowledge of music psychology and quantitative or qualitative data analysis
- High motivation, social/team skills and ability to work independently
- Strong interest in music-psychological research
Please send a short letter of motivation to mats.kuessner@hu-berlin.de by 14 October 2019, outlining your skills and motivation to take part in the Q-Kolleg. (Signing up via AGNES is not sufficient!)
This seminar is generously supported by bologna.lab at HU Berlin.
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| Literatur |
Aldridge, D. & Fachner, J. (2006). Music and Altered States: Consciousness, Transcendence, Therapy and Addictions. London and Philadelphia: Jessica Kingsley Publishers.
Ashley, R., & Timmers, R. (Eds.). (2017). The Routledge Companion to Music Cognition. New York: Routledge.
Clarke, D., & Clarke, E. (Eds.). (2011). Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives. Oxford: Oxford University Press.
Field, A., Miles, J., & Field, Z. (2012). Discovering Statistics Using R. London: Sage Publications Ltd.
Godøy, R. I., & Jørgensen, H. (Eds.). Musical Imagery. New York: Taylor & Francis.
Herbert, R. (2011). Everyday Music Listening: Absorption, Dissociation and Trancing. New York: Routledge.
Herbert, R., Clarke, E., & Clarke, D. (Eds.). (2019). Music and Consciousness 2: Worlds, Practices, Modalities. Oxford: Oxford University Press. |
