Laura Bishop

Image of Laura Bishop
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Visiting address Forskningsv. 3A Harald Schjelderups hus 0373 OSLO
Postal address Postboks 1133 Blindern 0318 OSLO

Research Interests

My research focuses on the cognitive processes involved in creative musical interaction. I am especially interested in how creative collaboration unfolds in the context of skilled music ensemble performance, when predictability and coordination must be balanced with flexibility and spontaneity. To address this question I run experiments investigating ensemble musicians' communicative behaviour; in particular, their body gestures and visual attention. I also look at how this behaviour is perceived by others (co-performers or audience members).

Background

  • Postdoctoral researcher at the Austrian Research Institute for Artificial Intelligence (OFAI), Vienna, Austria (2013-2019)
  • PhD in music cognition from the MARCS Institute, Western Sydney University, Australia. Thesis title: "The use of musical imagery and auditory feedback during expressive music performance: Exploring the effects of expertise" (2009-2013)
  • MSc in psychology from the University of Sheffield, UK (2007-2008)
  • BSc (Honours) in psychology from the University of Toronto, Canada (2003-2007)

Grants

  • Austrian Science Fund project "Achieving Togetherness in Ensemble Performance" with the Austrian Research Institute for Artificial Intelligence and the University of Music and Performing Arts Vienna (2020-2023)
  • Austrian Science Fund project "CoCreate: Coordination and Collaborative Creativity in Music Ensembles" with the Austrian Research Institute for Artificial Intelligence and the University of Music and Performing Arts Vienna (2016-2019)

Publications

PDFs are available here

Bishop, L. & Goebl, W. (2020). Negotiating a shared interpretation during piano duo performance. Music & Science, 3, 1-18. doi: 10.1177/2059204319896152

Bishop, L., Cancino-Chacón, C. E., & Goebl, W. (2019). Moving to communicate, moving to interact: Patterns of body motion in musical duo performance. Music Perception, 37(1), 1-25. doi: 10.1525/MP.2019.37.1.1

Bishop, L., Cancino-Chacón, C. E., & Goebl, W. (2019). Eye gaze as a means of giving and seeking information during musical interaction. Consciousness & Cognition, 68, 73-96. doi: 10.1016/j.concog.2019.01.002

Bishop, L. (2018). Collaborative musical creativity: How ensembles coordinate spontaneity. Frontiers in Performance Science, 9, 1285. doi: 10.3389/fpsyg.2018.01285

Bishop, L. & Goebl, W. (2018). Performers and an active audience: Movement in music production and perception. Jahrbuch der Deutschen Gesellschaft für Musikpsychologie, 28, 1-17. doi: 10.5964/jbdgm.2018v28.19

Bishop, L. & Goebl, W. (2018). Beating time: How ensemble musicians' cueing gestures communicate beat position and tempo. Psychology of Music, 46(1), 84-106. doi: 10.1177/0305735617702971

Bishop, L., & Goebl, W. (2017). Music and movement: Musical instruments and performers. In R. Ashley & R. Timmers (Eds.), The Routledge Companion to Music Cognition: Routledge.

Bishop, L. & Goebl, W. (2017). Mind-reading during ensemble performance: Communicating with nonverbal signals. Best of isaScience: An Interdisciplinary Collection of Essays on Music and Arts. Vienna: Hollitzer.

Bishop, L. & Goebl, W. (2017). Communication for coordination: Gesture kinematics affect coordination success in piano duos. Psychological Research, 82, 1177-1194.  doi: 10.1007/s00426-017-0893-3

Bishop, L. & Goebl, W. (2015). When they listen and when they watch: Pianists' use of nonverbal audio and visual cues during duet performance. Musicae Scientiae, 19(1), 84-110. doi: 10.1177/1029864915570355

Cavedon, L., Kroos, C., Herath, D., Burnham, D., Bishop, L., Leung, Y., & Stevens, C. J. (2015). "C'mon dude!": Users adapt their behaviour to a robotic agent with an attention model. International Journal of Human-Computer Studies, 80, 14-23. doi: 10.1016/j.ijhcs.2015.02.012

Bishop, L., & Goebl, W. (2014). Context-specific effects of musical expertise on audiovisual integration. Frontiers in Cognitive Science, 5, 1123. doi: 10.3389/fpsyg.2014.01123

Bishop, L., Bailes, F., & Dean, R. T. (2014). Performing musical dynamics: How crucial are musical imagery and auditory feedback for expert and novice musicians? Music Perception, 32(1), 51-66. doi: 10.1525/MP.2014.32.1.51

Bishop, L., Bailes, F., & Dean, R. T. (2013). Musical imagery and the planning of dynamics and articulation during performance. Music Perception, 31(2), 97-116. doi: 10.1525/MP.2013.31.2.97

Bishop, L., Bailes, F., & Dean, R. T. (2013). Musical expertise and the ability to imagine loudness. PLoS ONE, 8(2), e56052. doi: 10.1371/journal.pone.0056052

Bailes, F., & Bishop, L. (2012). Musical imagery in the creative process. In D. Collins (Ed.), The Act of Musical Composition: Ashgate SEMPRE Psychology of Music Series.

Bailes, F., Bishop, L., Stevens, C. J., & Dean, R. T. (2012). Mental imagery for musical changes in loudness. Frontiers in Perception Science, 3(525). doi: 10.3389/fpsyg.2012.00525

Tags: Music Cognition, Music and Movement, Social cognition, Musical interaction

Publications

  • Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting, In Simone Spagnol & Andrea Valle (ed.),  Proceedings of the 17th Sound and Music Computing Conference.  Axea sas/SMC Network.  ISBN 978-88-945415-0-2.  Paper. Full text in Research Archive. Show summary
  • Bishop, Laura & Jensenius, Alexander Refsum (2020). Reliability of two infrared motion capture systems in a music performance setting. Show summary
Published Sep. 11, 2019 9:16 AM - Last modified Mar. 8, 2020 1:38 PM