Springer Handbook of Systematic Musicology

2006 ◽  
Vol 11 (2) ◽  
pp. 101-112 ◽  
Author(s):  
BRUNO BOSSIS

The musicologist is confronted with many situations during the analysis of electroacoustic music, whether on support media, mixed, or real-time. Musical genres and styles vary greatly, and the collection of electronic musical instruments has also proven to be very heterogeneous. The intrinsic characteristics of the electroacoustic parts and their scoring create serious limitations. Furthermore, many sources remain inaccessible or are already lost. Thus the preoccupation with documentary sources related to the acts of creation, interpretation, and technological context becomes more and more pressing. It is now essential to formulate a synthetic vision of this music, which has existed for half a century, and to pursue the search for invariants. This work must be based on a rigorous methodology that has yet to be developed. More generally speaking, the goal is to establish the terms and conditions of a systematic musicology of electroacoustics.


2015 ◽  
Vol 9 (3-4) ◽  
pp. 236 ◽  
Author(s):  
Marc Leman ◽  
Pieter-Jan Maes

In this paper, we present recent and on-going research in the field of embodied music cognition, with a focus on studies conducted at IPEM, the research laboratory in systematic musicology at Ghent University, Belgium. Attention is devoted to encoding/decoding principles underlying musical expressiveness, synchronization and entrainment, and action-based effects on music perception. The discussed empirical findings demonstrate that embodiment is only one component in an interconnected network of sensory, motor, affective, and cognitive systems involved in music perception. Currently, these findings drive embodiment theory towards a more dynamical approach in which the interaction between various internal processes and the external environment are of central importance. <br />


2018 ◽  
Vol 1 ◽  
pp. 205920431774171
Author(s):  
Emma Allingham ◽  
Christopher Corcoran

The 10th annual International Conference of Students of Systematic Musicology (SysMus) took place on September 13–15, 2017, at Queen Mary University of London (UoL). The SysMus series has established itself as an international, student-run conference series aimed at introducing graduate students to networking and discussing their work in an academic conference environment. The term “Systematic Musicology,” first coined by Guido Adler (1885), nowadays covers a wide range of systematic or empirical approaches to theoretical, psychological, neuroscientific, ethnographic, and computational methodologies in music research. Presentations for SysMus17 focused on three central topics in relation to music: cognition and neuroscience, computation, and health and well-being. Each of these topics was the subject of workshops as well as keynotes by Prof. Lauren Stewart (Goldsmiths University of London and Music in the Brain Centre, Aarhus University), Prof. Elaine Chew and Dr. Marcus Pearce (both Queen Mary UoL), Dr. Daniel Müllensiefen (Goldsmiths UoL), and Prof. Aaron Williamon (Royal College of Music). Further presentations addressed issues relating to harmony and rhythm, musicians and performance, music and emotion, and sociology of music. This year’s conference brought together early-career researchers from the fields of musicology, psychology, and medicine, allowing them to socialize, share their work, and gain insight into interdisciplinary approaches to their subjects. SysMus17 was organized by students at Queen Mary’s Music Cognition Lab and was particularly marked by the series’ 10th anniversary, the live streaming of all presentations via social media, and a carbon-offsetting Green Initiative. The proceedings of SysMus17 will be available on demand from the conference website ( www.sysmus17.qmul.ac.uk ) and the videos will be made available for public access.


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