“…Methods: Three experiments were conducted: (1) School children were exposed to live chamber music, (2) two adult audiences who were accustomed to classical music as a genre listened to chamber music, and (3) elderly listeners were exposed to recorded classical music of a sad character with and without words. …”
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“…Taking self-regulation as the framework to study emotions in relation to learning and performing chamber music canon repertoire, this quasi-experimental and intra-individual study focused on the self-rated emotional states of a professional classical cellist during long-term sustained practice across 100-weeks. …”
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“…A study of 132 audience members of three classical public concerts (all three staged the same chamber music pieces by Ludwig van Beethoven, Brett Dean, and Johannes Brahms) had the goal of analyzing the physiological and motor responses of audiences. …”
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“…In four experiments, we employed pictures of affective environmental scenes, representational paintings, and Romantic solo and chamber music excerpts. Stimuli were pre-selected to vary in emotional content (pleasantness and arousal) and complexity (low versus high number of elements). …”
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“…Before the drastic disruption caused by the sudden emergence of the COVID-19 pandemic, 85% of the United Kingdom’s 14,000 orchestral musicians were self-employed freelance workers, engaged in busy and varied portfolio careers comprising a combination of orchestral, West End theatre, chamber music, and commercial recording work. Between May and June 2020 we carried out a first study examining the impact of the pandemic on the lives of 24 self-employed orchestral musicians, all established freelancers. …”
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