Petition "Inclusion and sustainability at ICMPC17": Signatures forwarded

To all those who signed the petition "inclusion and sustainability at ICMPC17":

Thanks for your support! I sent the following email to the conference organizers and unfortunately got no reply. It's not easy for me to follow this up within the ICMPC EC, because only half of the members support it. But it might help if you  contact the organizers yourself. Let me know if you have a question.

Best wishes

Richard

 

Von: Parncutt, Richard (richard.parncutt@uni-graz.at) 
Gesendet: Dienstag, 6. Dezember 2022 10:57

Betreff: ICMPC17 petition

 

Dear ICMPC Executive Committee,

Thanks to all who supported the petition on inclusion and sustainability at ICMPC17:

https://www.change.org/p/inclusion-and-sustainability-at-icmpc17 

In all, 105 people have signed, of whom at least 69 have relevant journal or book publications (see the names marked in bold in the publication list below). 

Special request to Masanobu: Please read the petition and consider the listed proposals. The proposals are intended in a constructive spirit, to help you organize a great conference. I am asking you both in my function as chair of the ICMPC EC and on behalf of the many colleagues who signed, as well as many others who I believe would have signed had they been informed.

On the last point, I also have a special request to Jessica: Could you ask Dominique to include the petition in the next biweekly SMPC digest? She may have missed my email. To my knowledge, most SMPC members do not yet know about the petition.

Yours

Richard

 

The petition has been signed by the first authors in the following list or those marked in bold. (I am pretty sure the list is correct, but because some names are sometimes ambiguous, there may be errors.)

(2021). Taqsīm as a Creative Musical Process in Arabic Music. Frontiers in Psychology, 12, 1537.

(2016). Association of meaning in program music: On denotation, inherence, and onomatopoeia. Music Perception, 34(2), 243-248.

(2015). How different are our perceptions of equal-tempered and microtonal intervals? A behavioural and EEG survey. PloS One, 10(8), e0135082.

(2020). The “Sound of Silence” in a Neonatal Intensive Care Unit—Listening to Speech and Music Inside an Incubator. Frontiers in Psychology, 11, 1055.

(2017). Teaching improvisation through processes. Applications in music education and implications for general education. Frontiers in Psychology, 8, 911. 

 (2019). Creative cognition in composing music. New Sound International Journal of Music, 53(1), 89-117. 

(2018). The role of parents in the perfectionistic tendencies of university music students. International Journal of Music Education, 36(2), 217-229.

(2016). The psychological representation of musical intervals in a twelve-tone context. Music Perception, 33(3), 274-286.

(2018). Music communicates affects, not basic emotions–a constructionist account of attribution of emotional meanings to music. Frontiers in Psychology, 9, 215.

(2021). Polish adaptation of the Geneva Emotional Music Scale: Factor structure and reliability. Psychology of Music, 49(5), 1117-1131.

(2017). Back to the inverted-U for music preference: A review of the literature. Psychology of Music, 45(6), 886-909.

 (2015). What do mothers say? Korean mothers' perceptions of children's participation in extra-curricular musical activities. Music Education Research, 17(2), 162-178.

(2021). Evaluative judgment across domains: Liking balance, contour, symmetry and complexity in melodies and visual designs. Brain & Cognition, 151, 105729.

(2022). One Year on: The Impact of COVID-19 on the Lives of Freelance Orchestral Musicians in the United Kingdom. Frontiers in Psychology, 13.

(2022). The Effects of a Dance and Music-Based Intervention on Parkinson’s Patients’ Well-Being: An Interview Study. International Journal of Environmental Research and Public Health, 19(12), 7519.

 (2018). Music-colour synaesthesia: Concept, context and qualia. Consciousness and Cognition, 61, 94-106.

(2022). Musicians Focal Dystonia: The Practitioner’s Perspective on Psychological, Psychosocial, and Behavioural Risk Factors and Non-motor Symptoms. Medical Problems of Performing Artists, 37(3), 200-206.

 (2003). La" Poétique musicale" de Stravinsky: Un manuscrit inédit de Souvtchinsky. Revue de Musicologie, 89(2), 373-392. 

(2022). Music we move to: Spotify audio features and reasons for listening. Plos One, 17(9), e0275228.

(2021). Giving voice to jazz singers’ experiences of flow in improvisation. Psychology of Music, 49(4), 789-803. 

(2001). The effects of promotion and prevention cues on creativity. Journal of Personality and Social Psychology, 81(6), 1001.

(2022). Creative Togetherness. A Joint-Methods Analysis of Collaborative Artistic Performance. Frontiers in Psychology, 13.

(2016). Consolation through music: A survey study. Musicae Scientiae, 20(1), 122-137.

(2014). Music-based cognitive remediation therapy for patients with traumatic brain injury. Frontiers in Neurology, 5, 34.

(2017). What has happened to song, dance and play in academia? Journal of the Musical Arts in Africa, 14(1-2), vii-ix.

(2021). Music influences vividness and content of imagined journeys in a directed visual imagery task. Scientific Reports, 11(1), 1-12.

 (2018). Development and testing of an instrument to determine musical fit in audio–visual advertising. Musicae Scientiae, 22(3), 362-376.

(2020). Feel the bass: Music presented to tactile and auditory modalities increases aesthetic appreciation and body movement. Journal of Experimental Psychology: General, 149(6), 1137.

(2017). Using facial expressions of emotion as a means for studying music-induced emotions. Psychomusicology, 27(3), 219.

(2019). The content and functions of vivid and soothing visual imagery during music listening: Findings from a survey study. Psychomusicology, 29(2-3), 90.

(2017). Music and shape. Oxford University Press. 

(2009). The changing sound of music: Approaches to studying recorded musical performances. London, UK: Centre for the History and Analysis of Recorded Music.

 (2022). The CODA model: a review and skeptical extension of the constructionist model of emotional episodes induced by music. Frontiers in Psychology, 13, 1389.

(2015). Colour association with music is mediated by emotion: Evidence from an experiment using a CIE Lab interface and interviews. PloS One, 10(12), e0144013.

(1994). Perceptual judgement of the relationship between musical and visual components in film. Psychomusicology, 13(1-2), 60. 

(2022). Flow in music performance and music-listening: Differences in intensity, predictors, and the relationship between flow and subjective well-being. Psychology of Music, 50(1), 111-126.

(2019). Motown, disco, and drumming: An exploration of the relationship between beat salience, melodic structure, and perceived tempo. Music Perception, 37(1), 26-41. 

 (2018). … And house music was born: oCnstructing a secular Christianity of otherness. Popular Music and Society, 41(3), 231-249.

(2013). Vocal imitation of song and speech. Cognition, 127(2), 177-202.

 (2020). Mikrophon und Habitus. Überlegungen zum Mikrophongebrauch in der klassischen Musikaufnahme. Rundfunk und Geschichte, 46(1–2), 47-58.

 (2011). The taste of music. Perception, 40(2), 209-219.

(2007). Effective practice: An investigation of observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players. Journal of Research in Music Education, 55(4), 359-375.

 (2022). Real-Time Modulation Perception in Western Classical Music. Music Perception, 39(5), 484-502.

(2020). The effect of a rhythmic pulse on the heart rate: Little evidence for rhythmical ‘entrainment’ and ‘synchronization’. Musicae Scientiae, 24(3), 377-400.

 (2021). Livestream experiments: the role of COVID-19, agency, presence, and social context in facilitating social connectedness. Frontiers in Psychology, 12, 647929.

(2015). Health-promoting behaviors in South African music students: a replication study. Psychology of Music, 43(6), 779-792.

 (2002). The science and psychology of music performance: Creative strategies for teaching and learning. Oxford University Press.

(2022). Deliberate practice in music: Development and psychometric validation of a standardized measurement instrument. Psychology of Music, online.

(2018). Las representaciones mentales como herramienta para la interpretación musical y sus características desde la práctica instrumental: un estudio en el marco de la ciencia cognitiva. Epistemus. Revista de Estudios en Música, Cognición y Cultura, 6(1), 46-75.

(2015). Does music influence the multisensory tasting experience? Journal of Sensory Studies, 30(5), 404-412.

(2017). “Heal the World”: A field experiment on the effects of music with prosocial lyrics on prosocial behavior. Psychology of Music, 45(2), 298-304.

(2017). The rule of the octave in first-year undergraduate theory: Teaching in the twenty-first century with eighteenth-century strategies. Journal of Music Theory Pedagogy, 31, 116.

(2018). Effects of pitch and timing expectancy on musical emotion. Psychomusicology, 28(1), 17.

(2015). Playing together without communicating? A pre-reflective and enactive account of joint musical performance. Musicae Scientiae, 19(4), 366-388.

 (2017). Hacia una educación musical decolonial en y desde Latinoamérica. Revista Internacional de Educación Musical, 5, 85-91.

(2017) The role of long-term familiarity and attentional maintenance in short-term memory for timbre. Memory, 25, 550-564.

(2019). Perception of affect in unfamiliar musical chords. PLoS One, 14(6), e0218570.

(2019). Spaciousness in Music: The Tonmeister’s Intention and the Listener’s Perception. EPiC Series in Technology, 1, 42-51.

(2019). How live music moves us: head movement differences in audiences to live versus recorded music. Frontiers in Psychology, 9, 2682.

(2014). The paradox of music-evoked sadness: An online survey. PloS One, 9(10), e110490. 

(2020). Community-based referential music making with limited-resource adolescents: A pilot study. Music Therapy Perspectives, 38(2), 112-118. 

(2014). Synchronization and leadership in string quartet performance: A case study of auditory and visual cues. Frontiers in Psychology, 5, 645.

 (2006). Nonlinear model predicts diverse respiratory patterns of birdsong. Physical Review Letters, 96(5), 058103. 

(2013). Exploring a rationale for choosing to listen to sad music when feeling sad. Psychology of Music, 41(4), 440-465.

(2011). Who enjoys listening to sad music and why? Music Perception, 29(3), 311-317.

(2021). Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music. Music & Science, 4, 2059204321997658. 

 (1993). A framework for the evaluation of music representation systems. Computer Music Journal, 17(3), 31-42.

(2008). Establishing an empirical profile of self-defined “tone deafness”: Perception, singing performance and self-assessment. Musicae Scientiae, 12(1), 3-26.

(2021). Music education students’ intrinsic and extrinsic motivation: A quantitative analysis of personal narratives. Psychology of Music, 49(5), 1321-1343. 

(2015). A systematic review of music-based interventions for procedural support. Journal of Music Therapy, 52(1), 1-77.