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Full Reviewed Papers
ICOMCS2 REVIEWED FULL PAPERS
The 25 papers below were submitted as full, four-page papers that were then reviewed by two members of the ICoMCS2 Scientific Committee. Papers were reviewed according to the relevance of the topic for ICoMCS2, the clarity of presentation, originality or novelty of the approach, significance of the paper including results, and overall quality.
Publication details:
Proceedings of the 2nd International Conference on Music Communication Science (ICoMCS2), edited by Catherine Stevens, Emery Schubert, Bridget Kruithof, Kym Buckley, and Steven Fazio, published in 2009 by HCSNet, University of Western Sydney. ISBN 978-1-74108-203-6.
TITLES |
PAGE NUMBERS |
Bangert, D., Schubert, E., & Fabian, D. Decision-making in unpracticed and practiced performances of Baroque violin music |
3-6 |
Brown, A.R., Gifford, T., Narmour, E., & Davidson, R. Generation in Context: An Exploratory Method for Musical Enquiry |
7-10 |
Cho, J. E. Effect of Concert Activities with rhythm-based musical Instruments on the Improvement of Sociality among Adolescents in Residential Care |
11-15 |
Draper, P. Foreign Objects and the Art of Interpretation Link to Media Files |
16-19 |
Garrido, S. Rumination and sad music: A review of the literature and a future direction |
20-23 |
Ginsborg, J., & Chaffin, R. Very long term memory for words and melody: An expert singer's written and sung recall over six years |
24-28 |
Ginsborg, J. & Gayford, C. Feeling Sound: Listeners' experience of topical pitch perception |
29-33 |
Hiraga, R., Takahashi, K., & Kato, N. Toward Music Communication with Supplemental Visual Information |
34-37 |
Innes-Brown, H. Marozeau, J. Grayden, D.B., Burkitt, A.N., & Blamey, P. B.
Visual information can improve musical stream segregation. |
38-41 |
Liang, C., Braganza, R., Giblin, I., & Bain, M. A Markov Chain Model of Formulaic Improvisation in Jazz |
42-45 |
Lisboa, T. Memory for music performance: comparing played and written recall |
46-49 |
Marco, D.J.T., McLachlan, N.M., & Wilson, S.J. Pitch streaming: A behavioural investigation of pitch-matching accuracy |
50-53 |
Marozeau, J., Innes-Brown, H., Grayden, D.B., Burkitt, A.N., & Blamey, P.
The effect of temporal envelope on melody segregation |
54-57 |
McLachlan, N., Greco, L., Toner, E.C., & Wilson, S.J. Interactions between visual and auditory encoding of pitch and time |
58-61 |
McLachlan, N., & Wilson, S.J. Pitch streaming: A computational network model |
62-66 |
Olsen, K., & Stevens, C.J. Perceptual overestimation of rising intensity: Is stimulus continuity necessary? |
67-70 |
Parton, K., & Edwards, G. Features of conductor gesture: Towards a framework for analysis within interaction |
71-74 |
Paton, B., & McIntyre, P. Audio mastering: Experimenting on the creative system of music production |
75-78 |
Preti, C. Music in hospitals: Defining an emerging activity |
79-82 |
Schaffert, N., Mattes, K., Barrass, S., & Effenberg, A.O. Exploring Functions and Aesthetics in Sonifications for Elite Sports |
83-86 |
Shek, V., & Schubert, E. Background Music at Work: A literature review and some hypotheses |
87-91 |
Smith, J. & Wolfe, J. Wagner’s music is even better than it sounds |
92-95 |
Somerville, P., & Uitdenbogerd, A.L. Sound source separation algorithm comparison using popular music |
96-99 |
Stevens, C.J., Vincs, K., & Schubert, E. Measuring audience response on-line: An evaluation of the portable audience response facility (pARF) |
100-103 |
Yasuda, S. A Psychological Study of Strong Experiences Induced by Listening to Music |
104-107 |
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