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Research SysMus19

SysMus19

We are very pleased to host the International Conference of Students of Systematic Musicology (SysMus) at the Department of Media Psychology of the SRH Hochschule der populären Künste (hdpk) from 10-12th September in Berlin, Germany.

The SysMus is a series of international conferences organized by students for students of systematic musicology. This kind of conference offers the opportunity for students to gain first experience in presenting and discussing their own research projects together with international students and researcher of the field of systematic musicology.

SysMus is dedicated to represent the diversity of topic and methods in the field of systematic musicology. Therefore, submissions addressing any of the following subjects are particularly welcome:

  • Systematic musicology
  • Music perception
  • Music cognition
  • Music psychology
  • Music therapy
  • Music modelling
  • Music information retrieval
  • Music sociology
  • Music education
  • Music technology
  • Music and culture
  • Musical acoustics
  • Music philosophy
  • Music theory and analysis

More information about SysMus can be found on the corresponding websites.

Important Dates

Feb 1stAbstract submission open
Apr 21stAbstract submission deadline (extended)
June 1stNotification of acceptance
July 1stRevision of abstract deadline
Sep 10-12th12th SysMus in Berlin, Germany

Helga de la Motte-Haber is retired Professor in systematic musicology and an important personality/figure for the development of systematic musicology in Germany. Her academic work influenced the development and new conception of systematic musicology as an independent discipline through the implementation of empirical research methods and new fields of research such as musical understanding, musical judgment and use of music. She is co-founder of the German Society of Music Psychology, co-editor of the first yearbooks of this society and editor of the German six-volume Handbook of systematic musicology that represent this discipline in its whole breadth. In addition to the development of a universal art-philosophical approach, Helga was also committed to the establishment of sound art as an independent musical manifestation and the contemporary music as the object of investigation of systematic musicology.

>> On Visual and Acoustic Perception of Space and its Relevance to the Arts <<

"Like all people artists have implicit knowledge of the perception of space that they can use for their works. Often, they try to create illusory effects in order to demonstrate the functioning of the sensory system. Explicit knowledge is needed to explain these effects. The lecture summarize important psychological results on visual and acoustic perception and shows their use in the visual arts and music."

Klaus Frieler is a post-doc researcher at the University of Music “Franz Liszt”. Currently, he is working for the transatlantic “Dig That Lick” research project. Before that, he was a member of the Jazzomat Research Project. His main research focus is computational musicology and its application to diverse fields of music research such as music psychology, jazz and popular music studies, ethnomusicology, and music information retrieval. Besides, he is working as a scientific consultant and as a music expert. He holds a PhD in Systematic Musicology and received a diploma in physics from the University of Hamburg.

>> Digital Jazz Research: A Transdisciplinary Approach <<

"In this talk, I want to give a brief tour on methods and results of our digital jazz research that was carried out in the context of the Jazzomat Research Project and the Dig That Lick project during the last seven years. I argue, that this presents a prototypical example of the genuine transdisciplinary approach of systematic musicology, where classical musicological methods, computational music analysis, computer-assisted transcriptions, corpus analysis, and qualitative annotations are used to work on topics such as cognitive models of improvisation, stylometrics, timbre and sound qualities, oral transmission, or influence networks. At the end, all these elements are necessary to paint a coherent and complete picture of a certain musical genre, as they help to understand the complex interaction of musical content, cultural practices, and the underlying psychological mechanisms."

More Information

All submissions (oral or poster presentation) will be made in the form of abstracts that gives you the opportunity to describe the theoretical background of your work and the methodology used, as well as providing detailed results and conclusions (if the evaluation is already completed). The abstracts should be no more than 400 words (references excluded) in length, be written in English, and address one of the conference topics listed above. All submissions will be considered for both spoken paper and poster presentation categories. However, the author can indicate a preference for either spoken or poster presentation in the submission form.

Oral presentations: Oral presentations will be allocated slots of 20 minutes, with 15 minutes for the presentation and 5 minutes for discussion.

Poster presentations: Poster presentations will have designated time slots and presentation spaces that will not overlap with any other activity.

All abstracts will be submitted via an online system in this link.

The acceptance of the submissions will be determined by anonymous peer review. For this reason, researchers should not refer to their own names within the submitted abstracts. Researchers may only apply as first author once.

Submission Deadline: April, 21st 2019 (extended)

Language of presentation: The official conference language is English.

Spoken Presentations

 

The time slot per author is set to 30 minutes, of which 25 are reserved for the presentation and the discussion. The remaining 5 minutes are for switching between authors and different sessions. The presentation itself should last between 15 and 20 minutes, leaving 5 to 10 minutes for the discussion after each presentation.

Please don't exceed your time slot. Otherwise, you must expect the chair to intervene and interrupt you to ensure the formal timing of the session.

Meet your chair 10-15 minutes before the session starts in the allocated room to provide him or her with some additional information about your person and your presentation and to clarify the formal process as well as to carry out a required technical check. If you have handouts, please distribute them before your talk.

Technical Equipment

Each session room is equipped with an iMac on which Microsoft PowerPoint 2011 is installed. The beamer has a HDMI port. If you are using your own laptop, please bring your own HDMI adapter to ensure correct connection to the beamer. Furthermore, each room is equipped with an audio system which is connected via a 3.5mm stereo audio cable. There is also keyboard in every room if you want to play something yourself for demonstration purposes. If something goes wrong with the equipment during your talk, please ask the technical assistant to fix it.

Wi-Fi is available but the connection might become rather unreliable when a large number of users are connecting to the same access point. Please avoid depending on an internet connection for your presentation.

 

Poster Presentations

 

We recommend that the maximum metric paper size is DIN A0 (84 cm × 119 cm, OR, 33.1 × 46.8 inches). We expect posters to be displayed in portrait orientation (height greater than width). You may print your poster in other (small) page sizes and assemble your poster as you wish on the poster boards that we will provide.

All poster presenters are required to bring their own poster(s) and we recommend printing them in advance prior to travel. But there are also some copy shops close to the conference venue where the posters can be printed.

The poster session will take place in seminar rooms on the 6th floor from 15:00-16:30 on Wednesday. The number of each poster can be found in the program. Please put your poster up on Tuesday or on Wednesday morning, thus making it possible for interested colleagues to view them all day. Partition walls are marked with numbers, pins are available. During the poster session, the first author is expected to be available for requests and discussion. Presenters will be responsible for mounting and removing their own posters.

 

 

Preliminary Programme

Download the preliminary programme as pdf-document HERE >>>

⇒ MONDAY, 9th September
18:00-19:00PRE-REGISTRATION
19:30PRE-CONFERENCE GET TOGETHER at “Die Feinbäckerei” (Vorbergstraße 2, 10823 Berlin)
⇒ TUESDAY, 10th September
09:30-10:30Registration & Coffee
10:30-11:00OPENING CEREMONY
11:00-12:00 KEYNOTE: Klaus Frieler: Digital Jazz Research: A Transdisciplinary Approach
12:00-13:30 Lunch
13:30-15:00 Session 01: WELL-BEING (Chair: Claire Howlin; Room: SR6)
13:30-14:00Niklas Wohlt: Subjective well-being and coping in music-related professions. A comparison of music teachers, instrumental teachers and musicians.
14:00-14:30Ludivine Aubry, Isabell Bötsch, Eleftherios Dimas & Richard von Georgi. Developing and validation of the Coping with Music Performance Anxiety Inventory (COMPAI) for popular and classical musicians
14:30-15:00Charlotte Madden & Richard von Georgi. Subjective well-being: The role of Personality, Use of Music and Sexual Satisfaction
13:30-15:00Session 02: MUSIC ANALYSIS (Chair: Joshua Bamford; Room: SRM2)
13:30-14:00Yik Long Lau: Stravinsky’s Mask: Metrical Dissonances in The Mummers from Petrushka
14:00-14:30Alice Verti: Meta-music at the turn of the century: Mahler’s Seventh Symphony between romantic irony and modern self-reflection
14:30-15:00Yvonne Teo: Theoretical Hybridity: Synthesising Schenkerian, Neo-Riemannian and Pitch-Class Set Theories
15:00-15:30COFFEE
15:30-17:00Session 03: METHODS (Chair: Omer Leshem; Room: SR6)
15:30-16:00Annaliese Micallef Grimaud: A Recipe for Emotion: Altering Emotion Perception Through Musical Parameters.
16:00-16:30Alvaro M. Chang-Arana, Matias Piispanen, Tommi Himberg & Katja Hölttä-Otto: A Performance-Based Measure for Research in Empathy and Music.
15:30-17:00Alvaro M. Chang-Arana, Matias Piispanen, Tommi Himberg & Katja Hölttä-Otto: A Performance-Based Measure for Research in Empathy and Music.
15:30-16:30 Session 04: DEVELOPMENT (Chair: Elisa Gillner; Room: SRM2)
15:30-16:00Lotte Armbrüster, Werner Mende & Kathleen Wermke. Richness of Musical Intervals in Melodies of Infants
16:00-16:30Gesine Wermke, Andreas C. Lehmann, Lotte Armbrüster & Bettina Lamm. Reproduction of Western Rhythm Stimuli by Cameroonian and German School Children – Do They Differ?
16:45-20:00EXPERIENCE ALTERNATIVE BERLIN TOGETHER (Meeting Point: Entrance of SRH Hochschule der populären Künste (hdpk))
⇒ WEDNESDAY, 11th September
09:30-10:00Registration & Coffee
10:00-11:00Session 05: AUDIENCE (Chair: Rebecca Whiteman; Room: SR6)
10:00-10:30Katherine O'Neill: Testing the influence of intra-audience interaction on emotional responses to a live classical concert.
10:30-11:00Omer Leshem & Michael Schober: How does audience members’ empathy affect their interpretation of musically expressed emotions in live concerts?
10:00-11:00 Session 06: MEDIA (Chair: David Hammerschmidt; Room: SRM2)
10:00-10:30Cécile Chéraqui. Spiritual in the movies: representations and contexts.
10:30-11:00Tim Engelhard, Dominik Leipold & Marik Roos. Influences of Musical Hardness on Perception and Evaluation of Gameplay Videos
11:00-12:00KEYNOTE: Helga de la Motte-Haber. On visual and acoustic perception of space and its relevance to the arts
12:00-13:30LUNCH
13:30-15:00Session 07: SOCIAL INTERACTION (Chair: Finn Lüders; Room: SR6)
13:30-14:00Verna Meryl Vázquez-Díaz de León. Music as a Facilitator for Family Bonding: A Multicultural Perspective between Mexico and the UK.
14:00-14:30Rebecca Whiteman. Structuring Social Relationships: Musical Interaction Forming Groups and Teams
14:30-15:00Daniel Friedrich & Richard von Georgi. Stereotypes about Musicians of Various Genres
13:30-15:00Session 08: PERFORMANCE (Chair: Jo Yee Cheung; Room: SRM2)
13:30-14:00Rory Kirk: The hand is gonna crawl: creativity and cognition in musical improvisation.
14:00-14:30Christopher Corcoran. How Score-Dependent are Classical Musicians? Assessing Reliance on Music Notation over Aural Information when Learning new Music
14:30-15:00Naomi Nordblom & Stefan Kopp: Do the Ergonomics of a Musical Instrument Influence the Heart Rate Variability?
15:00-15:30POSTER SESSION & COFFEE (Room: Lounge, SRM1 and SR5)
  • P01 Cristina Harney. Do Different Music Listening Situations have an Impact on Listening Experience in a Student Sample?
  • P02 Katrin Starcke, Richard von Georgi, Titta Marianne Tiihonen, Klaus-Felix Laczika & Christoph Reuter. Don’t Drink and Chill: Effects of Alcohol on Subjective and Physiological Reactions during Music Listening
  • P03 Emma Allingham & Clemens Wöllner. Effects of Attentional Focus on Motor Skill Performance in Violin Bowing
  • P04 Xinyue Wang, Zhuanghua Shi & Clemens Wöllner. Temporal Entrainment Effect: Can Music Enhance our Attention Resolution in Time?
  • P05 Zachary Bresler & Vincent Kok. The Sound of Streaming: Streaming as a Mediation on Popular Music Aesthetics
  • P06 Atsuko Tominaga, Günther Knoblich & Natalie Sebanz. The Sound of Teaching Music: Experts’ Sound Modulation for Novices
  • P07 Svetlana Wiese. Music and Emotion Regulation. Replication and Validation of the „Brief Music in Mood Regulation Scale (B-MMR)“ with an Adult Sample
  • P08 Marik Roos. MIAU-2D – A New Questionnaire to Differentiate Aesthetic Appreciation of Music
  • P09 Dijana Popović & Marik Roos. Non-Diegetic Music in Political Speech: Influences on Perception of Credibility and Political Views
  • P10 Matthias Lichtenfeld. Investigating the Relationship between Sensory-Processing Sensitivity and Musical Ability
  • P11 Kework K. Kalustian. Measuring Aesthetic Experiences at the Ending of Wagner’s “Ring”
  • P12 Charles de Paiva Santana & Didier Guigue. Symbolic Computer-Assisted Analysis of Orchestration Based on Partitions
  • P13 Timothea Lau & Helen Mitchell. Comparing Music Degree and Non-Music Degree Classical Singing Students’ Vocal Health Knowledge and Confidence at University
16:30-18:00Session 09: EMPIRICAL AESTHETICS (Chair: Kework Kalustian; Room: SR6)
16:30-17:00Landon S. L. Peck. Primary Text Analyses of Recorded Musical Experiences of Awe and the Sublime
17:00-17:30Diana Kayser & Hauke Egermann. Are Musical Emotions Different from Emotions Experienced in Everyday Life?
17:30-18:00Marik Roos. Take a Chance on This! The Influences of Chord Progression Probability on Aesthetic Appreciation of Pop Songs
16:30-18:00Session 10: EDUCATION (Chair: Katherine O‘Neill; Room: SRM2)
16:30-17:00Jo Yee Cheung. ‘Can you see me thinking?’ - mixed-methods approaches to observing metacognition in children and parental scaffolding during musical learning
17:00-17:30Ulrike Frischen, Gudrun Schwarzer & Franziska Degé. The Association between Music Lessons and Hot as well as Cold Executive Functions in Adults and Children
17:30-18:00Claudia María Fernández de Cañete García. An approach to Music as a Medium of Instruction in the Teaching of English as a Second Language: An Experimental Study Comparing Students with Previous Instrumental Training and Non-Musicians
19:00GET TOGETHER at Deponie No. 3“ (Georgenstraße 5, 10117 Berlin)
⇒ THURSDAY, 12th September
09:30-10:00Coffee
10:00-11:30Session 11: HEALTH (Chair: Sara Holm; Room: SR6)
10:00-10:30Claire Howlin & Brendan Rooney. Music Enjoyment and The Illusion of Choice Increases Pain Threshold
10:30-11:00Elisa Gillner. Investigating the influence of explicit information on the anxiety-reducing effect of music
11:00-11:30Anna Détári & Hauke Egermann. Musician’s Focal Dystonia: A Mere Neurological Disorder? The possible role of non-organic factors in the onset of Musician’s Focal Dystonia: an exploratory Grounded Theory Study
10:00-11:30Session 12: SOCIOLOGY (Chair: Verna Meryl Vázquez-Díaz de León; Room: SRM2)
10:00-10:30Patrick Pahner: On the necessity of a modern Critical Aesthetic Theory in an era of postmodern art and “mindsets”.
10:30-11:00Alan van Keeken. Musical Objects of Popular Culture: Uncovering socio-technical trajectories of musical cultures through artefact analysis
11:00-11:30 Thalia Laughlin: The Relationship between Louise Hanson-Dyer and Yvonne Rokseth: A New Perspective.
10:00-13:30Lunch
13:00-14:00 Session 13: DANCE (Chair: Landon Peck; Room: SR6)
13:00-13:30Joshua Bamford, Bronwyn Tarr & Emma Cohen. Fluency through synchrony: a cognitive account of the social functions of dance
13:30-14:00Virgil Breeden. A study on the effects of the soul calypso rhythm in West Coast Swing
13:00-14:00 Session 14: SYNCHRONISATION (Chair: Gesine Wermke; Room: SRM2)
13:00-13:30David Hammerschmidt & Clemens Wöllner. Sensorimotor Synchronisation to different metrical levels in music influences time perception
13:30-14:00Deniz Duman, Geoff Luck & Petri Toiviainen. Groove Connects: From Neural Entrainment to Entrainment of Movement
14:00-14:30CLOSING CEREMONY
14:30-15:00COFFEE
15:00-17:00WORKSHOPS
  • Klaus Frieler. Computer in Systematic Musicology (Room: SR6, 6th floor)
  • Alan van Keeken. Artefact analysis of musical objects (Room: SR5, 6th floor)
  • Marco Kuhn. Controlling sound through body movement (Room: DAW3, 5th floor)
  • Katrin Starke. Peripheral physiology in music psychology (Room: SRM2, 6th floor)

We organized four workshops that will take place on Thursday, the 12th September between 3pm and 5pm. Please register for one of the workshops via the following link: https://eveeno.com/SysMus19_Workshops

Registration is open until 1st of September 2019. Remaining places can be allocated when registering at the conference.

Workshop I: Computer in Systematic Musicology

Klaus Frieler (Institute for Musicology, University of Music Franz Liszt Weimar, Germany): klaus.frieler@hfm-weimar.de

In the last decade, significant steps towards more user-friendly and reliable software tools for musicological research have been made, which opens up opportunities for new experimental paradigms and methodologies. For example, experiments using a production paradigm are very time-consuming due to the necessary transcription step, which can be now significantly sped up using semi-automatic approaches. Moreover, modern computer-based methods allow characterising and comparing musical stimuli and experimental outcomes in a much more comprehensive, objective and flexible way. Likewise, corpus-based methods are a promising approach for incorporating aspects of music cultural background into cognitive models and allow “distant reading (listening)” approaches to cultural and historical studies of music. These are just some examples for using computers in systematic musicology, where computers serve as a generalised tool for measurement, data analysis, text-processing, presentation, communication and many more. In this workshop, a brief overview of available tools, techniques and user-scenarios will be given, before the participants engage in a hands-on introduction with carefully crafted examples, exercises and use-cases, which will be based on freely available tools (Sonic Visualiser, MeloSpyGUI, Dig That Lick Pattern/Similarity Search) and data sets (Essen Folk Song Collection, Weimar Jazz Database).

Prerequisites: It is recommended to have installed Sonic Visualiser, Audacity, and the MeloSpyGUI on your laptop. A statistics (e.g., R) and a spreadsheet software (e.g., Calc, Excel) are also recommended. No special computer skills are required.

max. 15 participants

Workshop II: Artefact Analysis of Musical Objects

Alan van Keeken (Zentrum für populäre Kultur und Musik, Albert-Ludwigs-Universität Freiburg): alan.van.keeken@zpkm.uni-freiburg.de

Artefact analysis is an approach to systematically uncover the ways in which objects are connected to people’s lives. It was developed into a qualitative method by Froschauer and Lueger (2018), who mostly employ it as a tool in organizational studies. It helps to contextualize the affordances, conditions of existence, materiality and “entanglement” of things with human practice, identity and social structure. In our project, aimed at the history of the “objects of popular music”, we looked to adapt artefact analysis to musicology integrating a wide range of instruments from science and technology studies (STS), to sociology and aesthetics. In this workshop you will learn to look at musical objects in a different way and use interdisciplinary views to enrichen your respective field of study. After a short theoretical introduction, we will work on a specific musical object to demonstrate the potential but also the limitations of artefact analysis. The workshops aim then is to offer insight in the following aspects of artefact analysis: Research strategy, our description system for musical objects (MOBS), group analysis and “experimental archaeology”.

Prerequisites: If you have your musical instruments or listening devices other than your cell phone with you, please feel free to take them to the workshop. We will preferably work with pen and paper.

max. 15 participants

Workshop III: Controlling Sound through Body Movement

Marco Kuhn (SRH Hochschule der populären Künste, Berlin, Germany): marco.kuhn@srh.de

In the field of human-computer interaction, a large number of new commercial interfaces have been designed in recent years in order to ensure a more natural interaction with the computer. These interfaces are mainly used to control music software, computer games or interactive exhibitions. These interfaces usually offer an API (Application Programming Interface), so that these interfaces can also be used for individual purposes e.g. music therapy. This workshop gives an overview about different interfaces (commercial as well as DIY variants) which can be used to control the sound by body movements. What possibilities are there for connecting to these interfaces, which communication protocols are suitable for interaction and how Max for Live can be used as middleware to convert movements and expressions into sound.

Prerequisites: None, we will use the Computer Lab at the SRH University of Popular Arts

max. 15 participants

Workshop IV: Peripheral Physiology in Music Psychology

Katrin Starcke (SRH Hochschule der populären Künste, Berlin, Germany): katrin.starcke@srh.de

katrin.starcke@srh.de Peripheral physiological reactions are bodily reactions such as an increase in heart rate, blood pressure, and sweat gland activity. Peripheral physiological measures are suited to gain inside into the level of participants’ arousal. Thus, it is possible to track participants’ arousal while they listen to a certain piece of music. While questionnaires concerning subjective arousal are usually filled out after listening, peripheral physiological measures allow an ongoing monitoring of arousal. For example, it is possible to investigate whether chills (intense sensations) during music listening are accompanied by peaks in physiological arousal. A combination of subjective (e.g., questionnaires) and peripheral physiological measures (e.g., heart rate, electrodermal activity) is very useful in music psychology. In this workshop, a brief overview of peripheral physiological indicators is given. Why is arousal accompanied by an increase in heart rate and electrodermal activity? What are advantages and disadvantages of peripheral physiological measures? How are peripheral physiological reactions related to personality? Thereafter we will use our device (Nexus 10 MKII, Mindmedia) and measure reactions of volunteers. Finally, data examples are analysed.

Prerequisites: It is recommended to have installed a statistics (e.g., SPSS, R) and a spreadsheet software (e.g., Calc, Excel). No special computer skills are required.

max. 15 participants

Conference fee includes coffee/tea and snacks, a conference bag, conference dinner, an alternative City Tour and of course all the great content sessions.

Conference Fee for three day: 68 Euros

Registration is open until 1st September 2019. If you have registered at last, please bring a copy of your bank transfer confirmation with you.

For registration, please use the online platform https://eveeno.com/sysmus2019. After your registration you will also receive detailed information of payment via e-mail.

One-Day-Ticket: 25 Euros (available at the conference. A registration is not necessary in advance)

Please use flywire to pay the registration fee. Flywire offers a lot of payment options and supports money transfer from many countries. If flywire does not support money transfer from your country (e.g. Germany), there will be also the option of bank transfer, but your country has to be part of the single euro payment area (see bank details in the email concerning the confirmation of registration). If your country is not in the single euro payment area (SEPA), please contact the organization team via email: sysmus2019@gmail.com

How to use flywire: 

  • Visit https://www.flywire.com/select-institution/
  • Select "SRH Hochschule Berlin"
  • Select "SRH Hochschule der populären Künste (hdpk)". It‘s the last option on this page and can also be identified by the orange logo which you can see in the upper left corner of the SysMus2019 web page.
  • Enter your home country and payment amount in the field "other fees" (it's the last option on the page).
  • Review the payment options and select your preferred method 5. Enter your personal details and payment information. IMPORTANT: You will be asked for your Students Application Number. Please enter 4968504/49648506/201902. Otherwise, the amount of money cannot be identified and assigned.
  • Receive your payment instructions
  • Send payment via preferred method
  • Track and confirm

This year we are fortunate to receive support from the European Society for the Cognitive Sciences of Music (ESCOM), The Society for Education, Music and Psychology Research (SEMPRE) and the German Society for Music Psychology (DGM), who are generously offering awards and travel grants respectively. Details of these, including how to apply and deadlines, are outlined below.

ESCOM

ESCOM is generously offering two awards of 200 EUR each:

ESCOM award for best student contribution

The goal of this award is to support promising young researchers in music cognition, and more generally in systematic musicology. It is based purely on academic quality and is independent of how the speaker travels to the conference (see below).

All abstract submissions are automatically considered for this award. The hosting committee will select a group of finalists, who will be notified along with acceptance to the conference. These finalists will be asked to send us a CV and a scanned copy of the participant’s student card. These finalists’ presentations will be evaluated by the hosting committee, who will choose a winner to be announced during the closing ceremonies.

ESCOM award for best student low-carbon presentation

This award is for a student presenter who makes the most effort to reduce their carbon footprint to travel to the conference. If you would like to be considered for this award, email the committee at sysmus2019@gmail.com with subject “ESCOM low-carbon award” by June 30th, 2019 that contains your CV and a copy of your student card and of course an outline of your plan of travel. This can be taking a train, a coach, hitch hiking, sailing or cycling. These are just a few ideas, but feel free to get creative in how you implement them. Perhaps plant some trees, get other lab members, friends and colleagues involved, or challenge yourself to travel zero-carbon and zero-waste?

The hosting committee will select the three low-carbon solutions they feel both reduce emissions the most and are creative. These finalists will be notified by July 15th, 2019. During our closing ceremonies, the finalists will be invited to give a short presentation on their journey to the conference and we will have an audience vote to determine the winner! The recipient of the award is expected to show evidence of their mode of travel as a condition of receiving the award. For all awards, ESCOM requests written confirmation that the work was presented; once received, funds will be transferred directly to the recipient’s bank account. 

SEMPRE

SEMPRE is once again generously offering travel grants to participants of the SysMus19 conference series. There are typically more applicants than there are funds available, and these grants are competitive.

If you would like to be considered for this award, email the SysMus19 committee at sysmus2019@gmail.com with subject “SEMPRE Travel Grant” by June 30th, 2019.

DGM

DGM is offering five travel grants each 150 EUR. Prerequisite is a talk or a poster at the conference. Being a member of the German Society for Music Psychology is not a prerequisite, but members are preferred, when awarding a travel grant. If you would like to be considered for this award, email the treasurer of the DGM, Franziska Degé (franziska.dege@ae.mpg.de) a short application text that also indicates your current status (full-time student, part-time student and unwaged delegate) by June 30th, 2019.

You can reach us at Email: sysmus2019@gmail.com

Or follow us on Facebook: @sysmus2019 and Instagram: #sysmus2019. 

SysMus 2019 is supported by: