Juni 23 - 24, 2014

Venue:

Hanse-Wissenschaftskolleg
Lehmkuhlenbusch 4
27753 Delmenhorst

Organizer:

Prof. Dr. Clemens Wöllner
Universität Hamburg

This international symposium brings together psychologists, music and sports science researchers working on the boundaries of perception-action processes, attention, statistical learning and skill acquisition. It is aimed at discussing fundamental perceptual and motor learning processes in music, a domain characterized by high demands on sensorimotor integration, memory and individual performance decisions.

Musicians acquire a great deal of their skills implicitly – without detailed verbalizations of a skill’s subcomponents or even awareness of the learning outcome. Research in various domains evidenced benefits of implicit learning as an automatic, holistic, and quick process that is relatively independent from factors such as age or intelligence and results in stable skills even in stressful performance situations. An individual’s focus of attention during practice and performance is of particular importance during these processes. While there is a great body of research on implicit music perception, research only recently began to investigate behavioural benefits of implicit learning modes in music performance. Such learning may comprise, but is not limited to, imitation, improvisation, discovery learning as well as analogy and errorless learning. Drawing on existing research and allowing for an interdisciplinary exchange of ideas, future directions for research shall be explored.

Juni 23 - 24, 2014

Venue:

Hanse-Wissenschaftskolleg
Lehmkuhlenbusch 4
27753 Delmenhorst

Organizer:

Prof. Dr. Clemens Wöllner
Universität Hamburg

This international symposium brings together psychologists, music and sports science researchers working on the boundaries of perception-action processes, attention, statistical learning and skill acquisition. It is aimed at discussing fundamental perceptual and motor learning processes in music, a domain characterized by high demands on sensorimotor integration, memory and individual performance decisions.

Musicians acquire a great deal of their skills implicitly – without detailed verbalizations of a skill’s subcomponents or even awareness of the learning outcome. Research in various domains evidenced benefits of implicit learning as an automatic, holistic, and quick process that is relatively independent from factors such as age or intelligence and results in stable skills even in stressful performance situations. An individual’s focus of attention during practice and performance is of particular importance during these processes. While there is a great body of research on implicit music perception, research only recently began to investigate behavioural benefits of implicit learning modes in music performance. Such learning may comprise, but is not limited to, imitation, improvisation, discovery learning as well as analogy and errorless learning. Drawing on existing research and allowing for an interdisciplinary exchange of ideas, future directions for research shall be explored.

• Prof. Dr. Emmanuel Bigand (LEAD – CNRS, University of Burgundy)
• Dr. Rouwen Cañal-Bruland (Faculty of Human Movement Sciences, VU University Amsterdam)
• Prof. Dr. Robert A. Duke (School of Music, University of Texas at Austin)
• Prof. Dr. Peter Keller (MARCS Institute, University of Western Sydney)
• Prof. Dr. Dezso Nemeth (Institute of Psychology, Eötvös Loránd University, Budapest)
• Prof. Dr. Dr. Markus Raab (Institute of Psychology, German Sport University Cologne; London South Bank University)
• Dr. Erwin Schoonderwaldt (Institute of Music Physiology and Musicians’ Medicine, Hanover University of Music, Drama and Media)
• Prof. Dr. Barbara Tillmann (Lyon Neuroscience Research Center – CNRS, University Claude Bernard Lyon 1)
• Dr. Anemone van Zijl (Department of Music, University of Jyväskylä)
• Prof. Dr. Aaron Williamon (Centre for Performance Science, Royal College of Music, London)
• Dr. Boris A. Kleber (Institute for Medical Psychology and Behavioural Neurobiology, University of Tübingen)

• Prof. Dr. Emmanuel Bigand (LEAD – CNRS, University of Burgundy)
• Dr. Rouwen Cañal-Bruland (Faculty of Human Movement Sciences, VU University Amsterdam)
• Prof. Dr. Robert A. Duke (School of Music, University of Texas at Austin)
• Prof. Dr. Peter Keller (MARCS Institute, University of Western Sydney)
• Prof. Dr. Dezso Nemeth (Institute of Psychology, Eötvös Loránd University, Budapest)
• Prof. Dr. Dr. Markus Raab (Institute of Psychology, German Sport University Cologne; London South Bank University)
• Dr. Erwin Schoonderwaldt (Institute of Music Physiology and Musicians’ Medicine, Hanover University of Music, Drama and Media)
• Prof. Dr. Barbara Tillmann (Lyon Neuroscience Research Center – CNRS, University Claude Bernard Lyon 1)
• Dr. Anemone van Zijl (Department of Music, University of Jyväskylä)
• Prof. Dr. Aaron Williamon (Centre for Performance Science, Royal College of Music, London)
• Dr. Boris A. Kleber (Institute for Medical Psychology and Behavioural Neurobiology, University of Tübingen)