{"id":274,"date":"2020-11-24T22:39:45","date_gmt":"2020-11-24T21:39:45","guid":{"rendered":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/?p=274"},"modified":"2020-11-24T23:17:43","modified_gmt":"2020-11-24T22:17:43","slug":"session-9","status":"publish","type":"post","link":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/session-9\/","title":{"rendered":"SESSION 9: Psychological Aspects of Musicology"},"content":{"rendered":"

Saturday, 28 November 2020<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n\n\n\n\n\n\n
9:30 \u2013 11:00<\/strong><\/td>\nSESSION 9:<\/strong><\/p>\n

Psychological Aspects of Musicology<\/em><\/strong><\/p>\n

chair: Ingrid Pustijanac<\/td>\n<\/tr>\n

9:30 \u2013 10:00<\/td>\nSanja Ki\u0161 \u017duvela:<\/p>\n

How Musicological Is the Psychology of Music? And How Far Does Our Knowledge Thereof Go?<\/em><\/td>\n<\/tr>\n

10:00 \u2013 10:30<\/td>\nL\u00e1szl\u00f3 Stach\u00f3<\/p>\n

Making Sense (and Relevance) of Data: The Cognitive Analysis of Performance<\/em><\/td>\n<\/tr>\n

10:30 \u2013 11:00<\/td>\nBlanka Bogunovi\u0107:<\/p>\n

Psychological Approach to Contemporary Art Music: The \u2018Composer \u2013 Audience\u2019 Communication<\/em><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Sanja Ki\u0161 \u017duvela<\/strong><\/p>\n

Department of Musicology, Academy of Music, University of Zagreb<\/p>\n

skiszuvela@muza.hr<\/em><\/p>\n

 <\/p>\n

How Musicological is the Psychology of Music? and How Far Does Our Knowledge Thereof Go?<\/strong><\/p>\n

Ever since its modern disciplinary beginnings in the 19th century, the study of psychological aspects of musical experience fails to give satis\u00adfactory answers to any of its fundamental Wh-questions: When was the discipline born as such? Who deserves the status of its founder? and Why is this person\u2019s name missing from the textbooks? Who else is missing and why? Who was proclaimed competent to speak about music and psyche in the past? and Who is entitled to pursue research in the psychology of music today? Which questions does the discipline raise? and How to apply the answers? What theoretical frameworks does it employ? and To what extent can they be independent of speculative music theory? How do the exclusive historical paradigms perpetuate in contemporary research? and Why are they still not overruled as outdated? What is the Psychology of Music anyway? Is it a discipline per se?<\/em> and How is it related to (System\u00adatic) Musicology? Which other disciplines claim the right to the study of the psychology of music? Which \u201cexternal\u201d approaches and methods find their way to musical and musicological relevance and vice versa<\/em>? What are the inevitable pitfalls of interdisciplinarity and methodological falla\u00adcies that come to light in this knowledge exchange? Who are the subjects (participants) of the empirical research in the field? and How musical are they? Which music is taken into account? and What is music in general? Whom does the whole body of mentioned research actually serve?<\/p>\n

Although fundamental, most of the above questions remain hitherto unan\u00adswered, even unaddressed, rejected as irrelevant or self-evident. Through an analysis of historical and contemporary literature the author will try to determine the current positions of and towards musicology within the domain of the psychology of music.<\/p>\n

Key words<\/strong>: psychology of music, musicology, interdisciplinarity, method, knowledge, relevance<\/p>\n

Sanja Ki\u0161 \u017duvela <\/strong>is an Assistant Professor at the Department of Musicol\u00adogy and Vice Dean for Study Programmes and Lifelong Learning at the Academy of Music, University of Zagreb. Her principal research interests include the analysis of 20th century music, music perception and cogni\u00adtion, relationships between music and visual arts, music and language, cog\u00adni\u00adtive linguistics and issues of contemporary musical terminology. She is the author of several dozens of academic papers which include a book, The Golden Section and the Fibonacci Sequence in 20th Century Music <\/em>(Zagreb, 2011). Ki\u0161 \u017duvela is the editor of a music theory journal Theoria<\/em>.<\/p>\n

\n

L\u00e1szl\u00f3 Stach\u00f3<\/strong><\/p>\n

Liszt Academy of Music, Budapest\/B\u00e9la Bart\u00f3k Faculty of Arts, University of Szeged<\/p>\n

stacho.laszlo@liszt.hu<\/em><\/p>\n

 <\/p>\n

Making Sense (and Relevance) of Data: <\/strong><\/p>\n

The Cognitive Analysis of Performance<\/strong><\/p>\n

Archive sound recordings, including recordings from the earliest recorded musicians, are getting increasingly published: phonoamateurs have publi\u00adcised a record amount of transfers on YouTube over the past decade, and more and more musicians and conservatoire teachers have discovered the artistic and pedagogical opportunities that arise from the close study of sound recordings from divergent styles and schools of 20th century per\u00adfor\u00admance practice. Parallelly with, and based on, this development, a new subfield started to emerge in musicology: performance studies. By 2020, scholarly networks (featuring large-scale conferences) and research centres have been established in various countries, including both British-American and German-Swiss hubs, among others. This new discipline re\u00adlies not only on historical musicology and music theory and analysis but on music psychology and empirical musicology as well, thus uniting knowl\u00adedge and skills of long-secluded areas into a stimulating inter\u00addiscipli\u00adnary field.<\/p>\n

In my talk, I intend to discuss how recent developments in performance studies fuelled by strengthening interdisciplinarity may lead to a greater and more sophisticated understanding of models, ideals and motives be\u00adhind performers\u2019 interpretive choices and their actual performance-re\u00adlated abilities, strategies (including attentional strategies and processes) and habits. I will argue for the fact that in search of performers\u2019 abilities, habits and choices, mere \u2018close listening\u2019 (that is, the \u2013 usually computer-assisted \u2013 descriptive study of details of microtiming and dynamic pat\u00adterns of a performance) appears to be insufficient and needs to be com\u00adplemented by a cognitive analysis which goes well beyond the obvious sounding elements and patterns. Such a cognitive approach aims to understand a musician\u2019s performance style \u2018from the inside\u2019, thus surpas\u00adsing mere description in order to find out about their ideals of perfor\u00admance, study their habit and cognitive strategies, and reveal the differ\u00adence between general characteristics of their performing style (shared with most performers of the era) and more contrasting and individual features. Such a study complements the close examination of contem\u00adporary written documents (both verbal documents and score editions) with close-listening of relevant sound recordings. In the end, the cognitive approach can enable us not only to better understand but also to emulate and revive performance styles from distant eras, thus making musicolog\u00adical research profoundly and increasingly relevant for both performance practice and pedagogy.<\/p>\n

Key words: <\/strong>performance practice, performance analysis, analysis of sound recordings, cognitive approach, interdisciplinarity, statistical analysis<\/p>\n

L\u00e1szl\u00f3 Stach\u00f3<\/strong> is a musicologist, psychologist and musician, Research Fellow and Lecturer at the Liszt Academy of Music (Budapest) and the University of Szeged (Hungary). His research focusses on early 20th-century performing practice, Bart\u00f3k analysis, emotional communication in music performance, and enhancement of attentional skills in music performance. As a pianist and chamber musician, he has performed in several European countries and the US and conducts attentional training workshops and chamber music coaching sessions at international master\u00adclasses at prestigious conservatoires. In 2014, he was a CMPCP (Centre for Musical Performance as Creative Practice) Visiting Fellow at the University of Cambridge; in 2017, he was a Visiting Fellow at the Cambridge Faculty of Music and Downing College.<\/p>\n

\n

Blanka Bogunovi\u0107<\/strong><\/p>\n

Faculty of Music, University of Arts, Belgrade<\/p>\n

bbogunovic@fmu.bg.ac.rs<\/em><\/p>\n

 <\/p>\n

Psychological Approach to Contemporary Art Music: <\/strong><\/p>\n

the ‘Composer \u2013 Audience’ Communication<\/strong><\/p>\n

The paper starts with reflections on the proposed conference main ques\u00adtion about the place of musicology in the future and then sets out to pro\u00advide an outline of a possible answer. One of the answers could refer to more flexible academic musicology, which would be ready to embrace inter\u00addis\u00adcipli\u00adnarity and an empirical research paradigm of the social sci\u00adenc\u00ades. The new paradigm would be open to building up new forms of relations with musical artists as partners as well. Additionally, we intend to contrib\u00adute to the discussion by presenting interdisciplinary psycho\u00adlogical research to the challenging issue of finding how contemporary art music can achieve understanding and gain acceptance of the audience. We address this issue using the conceptual framework of Csikszent\u00admihalyi’s systems theory of creativity (2004), which considers creativity as a process that can be ob\u00adserved only in an intersection of the personal back\u00adground\/individual, culture\/domain and social\/field. The aim is to inves\u00adti\u00adgate whether compos\u00aders intend to communicate their feelings, thoughts, and imagination to the audience while creating music, as well as whether the response of the pub\u00adlic matters to them. Furthermore, we explore whether the audience under\u00adstands the meaning of the contem\u00adpo\u00adrary pieces themselves. The partici\u00adpants were Serbian and interna\u00adtional contemporary composers who took part in the 24th International Review of Composers in Belgrade (n = 25) in October 2015. The audience consisted of 69 listeners at three concerts. Data were gathered both via an online questionnaire formulated for study and via a pen-and-paper ques\u00adtionnaire after the concert. Content analysis of the answers to open-ended questions was performed. The results showed that, during the crea\u00adtive process, composers differed in their treat\u00adment of the audience as well as of the content they wanted to communi\u00adcate, regardless of the fact of whether it was an emotional charge or a complex system of ab\u00adstract ideas. We may conclude that the relation be\u00adtween the main cogni\u00adtive layers (idea\/message\/imagination) of the com\u00adposer is clearly related to musical structure. At the same time, subtle re\u00adfine\u00adments are done by the proper choice of music materials and agreeable acoustic features when thinking of the audience’s reaction. On the other hand, the re\u00adsponse of the audience primarily lies in the emotional layer of experience. Since all participants in this form of communication start from diverse inten\u00adtions, their “meeting” is a matter of many factors.<\/p>\n

Key words<\/strong>: creative process, music communication, composer, audience, contemporary music<\/p>\n

Blanka Bogunovi\u0107<\/strong>, with a PhD in Psychology and a BA in Music Performance (Flute), a Senior Research Associate and Certified Transactional Analyst (CTA), is affiliated as a Full Professor of Psychology and Education Science. She teaches Psychology of Music at the Faculty of Philosophy, Department of Psychology, University of Belgrade. She is a regular guest lecturer at the Faculty of Philology and Arts, University of Kragujevac, and the Music Acad\u00ademy, University of Sarajevo, Bosnia and Herzegovina. Her research interests are in the field of psychology of music, psychological aspects of giftedness in music, education of the musically gifted, music performance skills develop\u00adment, emotional and creative processes in making music, and interdiscipli\u00adnary studies in music. Blanka Bogunovi\u0107 is the author of the book Musical Talent and Successfulness<\/em>(2008\/2010) that received the National Award Dr Borislav Stevanovi\u0107<\/em> for outstanding contribution to Psychology in Serbia (2009). She is also a co-author of the monograph Interdisciplinary approach to music: Listening, performing, composing <\/em>(2014), written in cooperation with musicologists. She publishes extensively and gives presentations at confer\u00adences in Serbia and abroad, also being a member of the editorial board of several scientific journals and a peer reviewer of scientific journals and books in Serbia and abroad. Bogunovi\u0107 is an ECHA (European Council for High Ability) Corre\u00adspond\u00adent and ESCOM (European Society for the Cognitive Sci\u00adences of Music) Representative for Serbia and the Coordinator of the Re\u00adgional Network Psy\u00adchol\u00adogy and Music (RNPaM). She was the head of the Pro\u00adgramme and Organ\u00adising Committees of the 1st International Conference Psychology and Mu\u00adsic \u2013 Interdisciplinary Encounters<\/em>, organised by the Fac\u00adul\u00adty of Music, University of Arts in Belgrade, 24\u201326 October 2019.<\/p>\n","protected":false},"excerpt":{"rendered":"

Saturday, 28 November 2020 \u00a0 9:30 \u2013 11:00 SESSION 9: Psychological Aspects of Musicology chair: Ingrid Pustijanac 9:30 \u2013 10:00 Sanja Ki\u0161 \u017duvela: How…   Read More<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[9,1],"tags":[],"class_list":["post-274","post","type-post","status-publish","format-standard","hentry","category-events","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/274","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/comments?post=274"}],"version-history":[{"count":3,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/274\/revisions"}],"predecessor-version":[{"id":291,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/posts\/274\/revisions\/291"}],"wp:attachment":[{"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/media?parent=274"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/categories?post=274"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.muza.unizg.hr\/zgmusicology50\/en\/wp-json\/wp\/v2\/tags?post=274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}