Proceedings of the 10th International Conference of Students of Systematic Musicology (SysMus17) London, UK, September 13–15, 2017 Peter M. C. Harrison (Ed.). © 2018 SysMus17. Permission is granted to redistribute part or all of this document on the condition that the original source be properly cited. Print version: March 2018 Preface SysMus17, the 10th International Conference of Students of Systematic Musicology, took place on September 13–15, 2017 at Queen Mary, University of London. The SysMus conference series is run by students for students, and provides the opportunity to gain experience in conference attending, presenting, networking, and organising. SysMus17 received 76 submissions in the form of extended abstracts1. Each abstract was reviewed by two reviewers and one meta-reviewer from the SysMus17 scientific committee. On the basis of these reviews, 47 abstracts (62%) were accepted for the conference. Each of these accepted submissions is represented in this proceedings book, either by an extended abstract or by a longer paper. The SysMus17 papers represent a variety of perspectives on systematic musicology. Most describe empirical studies, but also included are theory, analysis, and history papers. The ‘word cloud’ on the cover of this proceedings book plots the 100 most common words found in the SysMus17 proceedings, with the size of each word proportional to its frequency of occurrence2. The word cloud clearly indicates that music is at the centre of SysMus17; within music, particular focuses include performance, emotion, rhythm, analysis, listening, perception, teaching, and creativity. It was a pleasure to receive so many submissions for SysMus17, and to work with the authors to finalise their proceedings contributions. I’m excited to imagine how our new generation of systematic musicologists will contribute to the field in the coming years. Peter Harrison Scientific Chair, SysMus17 January 2018 1 These figures exclude submissions subsequently withdrawn by the authors. 2 The word list was curated to remove uninformative words, such as stop words and paper metadata. Counts for words with similar stems (e.g. ‘music’ and ‘musical’) were combined. The word cloud was created using the software environment R and the R packages tm and wordcloud. i ii Committees Core SysMus17 Hosting Committee SysMus17 Chair Sarah Sauvé1 IT Manager Pedro Douglass-Kirk2 Scientific Committee Chair Peter Harrison1 Social Secretary Katie Rose Sanfilippo2 SysMus17 Supervisor Marcus Pearce1 1Music Cognition Lab, Queen Mary, University of London http://music-cognition.eecs.qmul.ac.uk/ 2Music, Mind & Brain, Goldsmiths, University of London http://www.musicmindbrain.com/ Volunteers Canishk Naik Ioanna Zioga Jiajie Dai Manuel Anglada-Tort Ozge Alakus Rebeka Bodak Sarah Toorani Shirley Wu Scientific Committee Agata Zelechowska Kelly Whiteford Angel Faraldo Landon Peck Anja-Xiaoxing Cui Manuel Anglada-Tort Anthony Chmiel Marco Susino Brooke Okada Michaela Korte Cárthach Ó Nuanáin Moe Touizrar Cory Meals Montserrat Pàmies-Vilà Daniel Fiedler Mylène Gioffredo David Baker Nerdinga Letule Fabian Moss Noah Little Georgios Diapoulis Olivia Podolak Gesine Wermke Raluca Matei Hayley Trower Riza Veloso Helena Dukic Savvas Kazazis Jason Noble Scott Bannister Jessica Crich Steffen Herff Juan Ignacio Mendoza Garay Suzanne Ross Jun Jiang Tejaswinee Kelkar Katie Rose Sanfilippo Ulf Holbrook Keith Phillips iii Table of Contents Paper Page Aydin Anic, William Forde Thompson, Kirk N. 1–7 Olsen. Stimulation of the Primary Motor Cortex Enhances Creativity and Technical Fluency of Piano Improvisations. Jay Appaji, Zachary Wallmark, Jay Dowling. 8 Cognition of South Indian Percussion. Lotte Armbrüster, Werner Mende, Hanna 9–10 Ehlert, Gesine Wermke, Kathleen Wermke. Musical Intervals in Baby Sounds. Joshua S. Bamford. 11 Chance Music is Best Not Left to Chance. Scott Bannister. 12 A Survey of Musically-Induced Chills: Emotional Characteristics and ‘Chills Moments’ in Music. Stefanie Bräuml. 13 Neuroaesthetics and Music: Difficulties of a Young Field of Research. Sarah Campbell, Paul Sowden. 14 ‘Feeling the Gap’: Does Interoceptive Ability Mediate the Disparity Between Physiological and Subjective Emotional Response to Music Listening? Francisco Cardoso. 15–19 Towards a New Model for Effective Musical Teaching in Performance-Oriented Settings. Álvaro M. Chang-Arana. 20–23 Spanish Version of the Kenny-Music Performance Anxiety Inventory (K-MPAI): Factorial Structure and First Statistical Analyses of a Peruvian Sample. Anthea Cottee, Sean O’Connor. 24 Adaptation of the Mindfulness-Acceptance- Commitment Approach for Groups of Adolescent Musicians: An Assessment of Music Performance Anxiety, Performance Boost, and Flow. Pablo Cuevas. 25–28 Sounds of Native Cultures in Electroacoustic Music: Latin American Study Cases. iv Anna Czepiel, Emma Allingham, Kendra 29 Oudyk, Adrianna Zamudio, Pasi Saari. Musicians’ Timbral Adjustments in Response to Emotional Cues in Musical Accompaniments. Georgios Diapoulis, Marc Thompson. 30–33 Kinematics Feature Selection of Expressive Intentions in Dyadic Violin Performance. Katerina Drakoulaki, Robin Lickley. 34 Grammaticality Judgments in Linguistic and Musical Structures. Daniel Fiedler, Daniel Müllensiefen. 35–36 Musical Trajectories and Creative Music Teaching Interventions Affect the Development of Interest in ‘Music’ of German Secondary Schools’ Students. Konstantinos Giannos, Emilios 37–42 Cambouropoulos. Chord Encoding and Root-finding in Tonal and Non-Tonal Contexts: Theoretical, Computational and Cognitive Perspectives. Luciana F. Hamond. 43–48 Visual Feedback in Higher Education Piano Learning and Teaching. Marvin Heimerich, Kimberly Severijns, 49 Sabrina Kierdorf, Kevin Kaiser, Philippe Janes, Rie Asano. Investigating the Development of Joint Attentional Skills in Early Ontogeny Through Musical Joint Action. Dasaem Jeong, Juhan Nam. 50–55 How the Rhythm is Actually Performed in the First Movement of the Beethoven’s Seventh Symphony. Elizabeth Kunde, Kate Leonard, Jim Borling. 56 The Effect of Socio-Cultural Identity on Musical Distaste. John Lam Chun-fai. 57–59 Modes of Listening to Chinese Pentatonicism in Parisian Musical Modernity. Rebecca Lancashire. 60–66 An Experience-Sampling Study to Investigate the Role of Familiarity in Involuntary Musical Imagery Induction. Chloe Stacey MacGregor, Daniel Müllensiefen. 67–73 Factors Influencing Discrimination of Emotional Expression Conveyed Through Music Performance. v Raluca Matei, Jane Ginsborg, Stephen Broad, 74 Juliet Goldbart. A Health Course for Music Students: Design, Implementation and Evaluation. Pablo Mendoza-Halliday. 75–77 A Theory of the Musical Genre: The Three-Phase Cycle. Jaco Meyer. 78 Musical Forces Can Save Analysts from Cumbersome Explanations. Robyn Moran, Richard Race, Arielle 79 Boneville-Roussy. Measuring Rhythmic Abilities: The Development of a Computer-Based Test to Assess Individual Differences in Beat Keeping. Ekaterina Pavlova. 80–83 Selling Madness: How Mental Illness Has Been Commercialised in the Music Business. Landon S. L. Peck. 84 Experiences and Appraisals of Musical Awe. Keith Phillips. 85 Investigating the Improvisers’ Perspective Using Video-Stimulated Recall. Sinead Rocha, Victoria Southgate, Denis 86 Mareschal. Infant Spontaneous Motor Tempo. D. C. Rose, L. E. Annett, P. J. Lovatt. 87 Investigating Beat Perception and Sensorimotor Synchronisation in People With and Without Parkinson’s Disease. Suzanne Ross, Elvira Brattico, Maria Herrojo- 88 Ruiz, Lauren Stewart. The Effect of Auditory Feedback on Motor Sequence Learning in Novices. Pathmanesan Sanmugeswaran. 89 Performing Auspiciousness and Inauspiciousness in Parai Mēlam Music Culture in Jaffna, Sri Lanka. Katharina Schäfer, Tuomas Eerola. 90 Social Surrogacy: How Music Provides a Sense of Belonging. Theresa Schallmoser, Siavash Moazzami 91 Vahid, Richard Parncutt. Estimation of Time in Music: Effects of Tempo and Familiarity on the Subjective Duration of Music. vi Eva Schurig. 92–95 Urban Traffic Safety While Listening to Music – Views of Listeners and Non-Listeners. Jan Stupacher, Guilherme Wood, Matthias 96 Witte. Infectious Grooves: High-Groove Music Drives Auditory-Motor Interactions. Jasmine Tan, Joydeep Bhattacharya. 97 Interoception in Musicians’ Flow. M. S. Tenderini, T. M. Eilola, E. de Leeuw, M. 98 T. Pearce. Affective Priming Effects Between Music and Language in Bilinguals’ First and Second Language. Hayley Trower, Adam Ockelford, Arielle 99 Bonneville-Roussy. Using Zygonic Theory to Model Expectations in Repeated Melodic Stimuli. Michelle Ulor, Freya Bailes, Daryl O’Connor. 100 Can Individuals be Trained to Imagine Musical Imagery? A Preliminary Study. Joy Vamvakari. 101 “Let the Music Flow in You”: Music Listening, Health and Wellbeing in Everyday Life. Makarand Velankar, Parag Kulkarni. 102–105 Study of Emotion Perception for Indian Classical Raga Music. Gesine Wermke, Andreas C. Lehmann, Phillip 106–107 Klinger, Bettina Lamm. Reproduction of Western Music Rhythms by Cameroonian School Children. Johanna N. Wilson. 108 Analysing the Implications of Music Videos on Youths’ Listening Experience. Adrien Ycart, Emmanouil Benetos. 109 Neural Music Language Models: Investigating the Training Process. vii Proceedings of the 10th International Conference of Students of Systematic Musicology (SysMus17), London, UK, September 13-15, 2017. Peter M. C. Harrison (Ed.). Stimulation of the Primary Motor Cortex Enhances Creativity and Technical Fluency of Piano Improvisations Aydin