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Research 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



Invited Speakers

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)

Spoken Presentations

Spoken presentation should be 15-20 minutes in length and will be followed by 5-10 minutes for discussion. As a presenter, you are required to carry out a technical check in the room where you are presenting. Please perform a technical check and meet your chair 15 minutes before your session starts. If you have handouts, please distribute them before your talk. If something goes wrong with the equipment during your talk, please ask the technical assistant to fix it.

WiFi 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.

We will inform you about the available technical equipment in time.

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. Please take into account the size of your fonts and the level of magnification.

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.

Presenters will be responsible for mounting and removing their own posters. At least one author of each poster must be available during the timetabled poster sessions.

Preliminary Program

Download the preliminary program as pdf-document here >>>

Thuesday 10th September
09:30-10:30Registration & Coffee
10:30-11:00Opening Ceremony
11:00-12:00 Keynote I
12:00-13:30 Lunch
13:30-15:00 Session Wellbeing
13:30-14:00Niklas Wohlt: Subjective well-being and coping in music-related professions. A comparison of music teachers, instrumental teachers and musicians.
14:00-14:30Charlotte Madden & Richard von Georgi: Subjective well-being: The role of Personality, Use of Music and Sexual Satisfaction.
14:30-15:00Ludivine 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.
13:30-15:00Session Analysis
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
15:30-17:00Session Methods
15:30-16:00Annaliese Micallef Grimaud: A Recipe for Emotion: Altering Emotion Perception Through Musical Parameters.
16:00-16:30Andreas Pirchner: IRMA (Interactive Real-time Measurement of Attention). A explorative method investigating performances of audiovisual computer music
16:30-17:00Alvaro M. Chang-Arana, Matias Piispanen, Tommi Himberg & Katja Hölttä-Otto: A Performance-Based Measure for Research in Empathy and Music.
15:30-17:00 Session Education
15:30-16:00Jo Yee Cheung: ‘Can you see me thinking?’ - mixed-methods approaches to observing metacognition in children and parental scaffolding during musical learning
16:00-16:30Ulrike Frischen, Gudrun Schwarzer & Franziska Degé: The association between music lessons and hot executive functions in adults and children.
16:30-17:00Claudia Fernández de Cañete Garcia: 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 musical training and a control group.
17:00 Social Events in Berlin
Wednesday 11th September
09:30-10:00Registration & Coffee
10:00-11:00Session Audience
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 Awareness
10:00-10:30Katharina Schäfer, Tuomas Eerola & Suvi Saarikallio: Music can act as social surrogate and reduce loneliness: Evidence from an experimental study using consoling and distracting music after inducing a social or non-social loss.
10:30-11:00Elli Xypolitaki & Andrea Schiavio: Homeostatic listening: Exploring interoceptive awareness through music.
11:00-12:00Keynote II
13:30-15:00Session Media
13:30-14:00Cécile Chéraqui: Spirituals during Hollywood's Golden Age: backgrounds and analyzes of a specific use.
14:00-14:30Dijana Popovic & Marik Roos: Non-diegetic Music in Political Speech: Influences on Perception of Credibility and Political Views.
14:30-15:00Tim Engelhard, Dominik Leipold & Marik Roos: Metal and Murder. Influences of Background Music on Perception of Gameplay Videos.
13:30-15:00Session Performance
13:30-14:00Rory Kirk: The hand is gonna crawl: creativity and cognition in musical improvisation.
14:00-14:30Chris Corcoran: How score-dependent are classical musicians?
14:30-15:00Naomi Nordblom & Stefan Kopp: Do the Ergonomics of a Musical Instrument Influence the Heart Rate Variability?
15:00-15:30Postersession & Coffee
  • Atsuko Tominaga, Günther Knoblich & Natalie Sebanz: The Sound of Teaching Music: Experts’ sound modulation for novices.
  • Charles Santana & Didier Guigue: Symbolic computer-assisted analysis of orchestration based on Partitions.
  • Cristina Harney: Do different music listening situations have an impact on listening experience in a student sample?
  • Emma Allingham & Clemens Wöllner: Effects of attentional focus on motor skill performance in violin bowing.
  • Katrin Starcke et al.: Don’t drink and chill: Effects of alcohol on subjective and physiological reactions during music listening.
  • Kework Kalustian: Measuring Aesthetic Experiences at the Ending of Wagner’s “Ring”.
  • Timothea Lau and Helen Mitchell: Comparing music degree and non-music degree classical singing students’ vocal health knowledge and confidence at university.
  • Marik Roos: MIAU-2D. A New Questionnaire to Differentiate Aesthetic Appreciation of Music.
  • Matthias Lichtenfeld: Investigating the relationship between sensory-processing sensitivity and musical ability.
  • Stephen Whale: Analyzing centrifugal/centripetal trajectories in Schubert using Schoenberg's chart of regions.
  • Svetlana Wiese: Music and emotion regulation. Replication and validation of the „Brief Music in Mood Regulation Scale (B-MMR)“ with an adult sample.
  • Xinyue Wang: Temporal entrainment effect: Can music enhance our attention resolution in time?
  • Zachary Bresler & Vincent Kok: The Sound of Streaming: Streaming as a mediation on popular music aesthetics.
16:30-18:00Session Development
16:30-17:00Lotte Armbrüster: Diversity of Musical Intervals in the Melodies of Infants Vocalisations.
17:00-17:30Gesine Wermke, Lotte Armbrüster & Andreas C. Lehmann: Production of Western music stimuli by Cameroonian and German school children – do they differ?
17:30-18:00Alex Cho, Timothy Liam Alcock Foley, Sarah Sauve and Benjamin Zendel: Age and experience-related use of auditory streaming cues.
16:30-18:00Session Aesthetic
16:30-17:00Landon 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.
19:00Get together
Thursday 12th September
10:00-12:00Session Synchronization
10:00-10:30David Hammerschmidt & Clemens Wöllner: Sensorimotor Synchronisation to different metrical levels in music influences time perception.
10:30-11:00Deniz Duman, Geoff Luck & Petri Toiviainen: Groove Connects: From Neural Entrainment to Entrainment of Movement.
11:00-11:30Joshua Bamford, Bronwyn Tarr & Emma Cohen: Fluency through synchrony: a cognitive account of the social functions of dance.
11:30-12:00Virgil Breeden & Claire Arthur: Music-Dance Dissonance? A study on the effects of the soul calypso rhythm on flow in West Coast Swing.
10:00-12:00Session Sociology
10:00-10:30Ekaterina Pavlova: Between Vergangenheitsbewältigung and Victimhood: History, Memory and Narratives of Identity in the Post-war Deutschlandlied.
10:30-11:00Patrick Pahner: On the necessity of a modern Critical Aesthetic Theory in an era of postmodern art and “mindsets”.
11:00-11:30 Thalia Laughlin: The Relationship between Louise Hanson-Dyer and Yvonne Rokseth: A New Perspective.
11:30-12:00Alan van Keeken: Musical Objects of Popular Culture: Uncovering socio-technical trajectories of musical cultures through artefact analysis.
13:30-15:00 Session Health
13:30-14:00Claire Howlin & Brendan Rooney: Even the illusion of choice can increase your pain threshold while listening to music, so long as you like the music.
14:00-14:30Elisa Gillner: Exploring the potential for positive expectation to enhance the perceived relaxing effect of music.
14:30-15:00Anna Detari & Hauke Egermann: The Possible Role of Psychological and Environmental Factors in the Onset of Musician’s Focal Dystonia: An Exploratory Grounded Theory Study.
13:30-15:00 Session Social Interaction
13:30-14:00Verna Meryl Vazquez Diaz de Leon: 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.
15:30-16:00Closing Ceremony

Registration is OPEN!

Conference fee includes coffee/tea and snacks, a conference bag, of course all the great content sessions, and many more for body and soul!

Early bird up to 15 July 2019:  68 EURO

Lazy bird after 15 July 2019:  85 EURO

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.


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 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 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 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: