Laura Bishop

Image of Laura Bishop
Norwegian version of this page
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).


  • 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)


  • 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)


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
Published Sep. 11, 2019 9:16 AM - Last modified Mar. 8, 2020 1:38 PM