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• Laura Bishop, Anna Niemand, Sara D'Amario & Werner Goebl (2026). Moving together, feeling together: Body coordination, pupil size, and musical togetherness in classical duo performance. Psychology of Music. ISSN 0305-7356. doi: 10.1177/03057356261436796. Fulltekst i vitenarkiv Vis sammendrag

  This study investigated the relationships between bodily expression, bodily coordination, mental effort, and self-reported experiences of musical togetherness. Singer-pianist duos performed pieces of classical repertoire before and after rehearsing together. Video, head motion, respiration, and pupillometry data were collected. Afterwards, the performers watched a video of their post-rehearsal performance and made continuous ratings of how together they felt. They also provided written descriptions of the cues that informed their togetherness judgements. Our analyses showed stronger head coordination between partners and larger pupil diameter during high-togetherness phrases than during low-togetherness phrases for one of the pieces. Inhalation synchrony and quantity of head motion did not differ between high- and low-togetherness phrases. Pupil size was greater during pre-rehearsal performances than during post-rehearsal performances, suggesting that demands on attention might have reduced after players had jointly constructed a shared interpretation and grown more accustomed to performing together. A thematic analysis of written responses showed that performers’ concept of togetherness related to coherence in musical parameters, moving and breathing together, and sensations of feeling together, shared musical emotion, and effortlessness. We discuss these findings in relation to the musical togetherness model.

• Sara D’Amario & Laura Bishop (2025). Self-reported experiences of togetherness in classical music ensembles. Psychology of Music. ISSN 0305-7356. s. 1–19. doi: 10.1177/03057356251381808. Fulltekst i vitenarkiv Vis sammendrag

  Musicians experience varying degrees of musical togetherness, defined as a sense of social connectedness that they experience with co-performer(s) in music ensembles. Previous investigations focused on optimal experiences and suggested a link between social connections and musical and contextual aspects. However, it is not fully understood how this concept aligns with musicians’ experiences of togetherness. This research analysed experiences of togetherness in classical ensemble performances, based on semi-structured interviews with 22 advanced music students. Thematic content analysis demonstrates the emergence of four main themes associated with togetherness experiences as follows: (1) togetherness sensation, (2) quality of the interpersonal relationships, (3) performance settings, and (4) ensemble skills. This study broadens our understanding of ensemble playing experiences and reveals how togetherness experiences can arise or be negatively affected. These results are valuable to ensemble pedagogy and social interactions.

• Sara D’Amario & Alexander Refsum Jensenius (2025). Cardiac Coherence among Musicians and Audiences During Orchestra Performances. Music & Science. 8, s. 1–15. doi: 10.1177/20592043251370977. Fulltekst i vitenarkiv Vis sammendrag

  Recent empirical investigations suggest that music performance and perception can evoke a collective cardiac response in performers and audience members, and interpersonal cardiac coupling can be related to musical features. However, the relationship between musicians’ and audiences’ cardiac responses is poorly understood. This study investigates the interpersonal cardiac coherence of selected audience members and performers from the Stavanger Symphony Orchestra and the Norwegian Radio Orchestra during multiple performances of Harald Sæverud’s Kjempeviseslåtten. The cardiac coherence index (CCI) was computed by applying the intrinsic synchrosqueezing transform to the cardiac interbeat interval of each signal, combining noise-assisted multivariate empirical mode decomposition and short-time Fourier transforms. The results show that the CCI values among the audience members were stronger than those of the musicians. Sound pressure level measurements predicted the musicians’ CCI values, whilst musical form structure predicted the audiences’ CCI values. These results advance our understanding of how cardiac rhythms support interpersonal interactions and contribute to research on live orchestra performances.

• Sara D'Amario, Harald Schmidbauer, Angi Roesch, Werner Goebl, Anna Maria Niemand & Laura Bishop (2023). Interperformer coordination in piano-singing duo performances: phrase structure and empathy impact. Psychological Research. ISSN 0340-0727. 87, s. 2559–2582. doi: 10.1007/s00426-023-01818-8. Fulltekst i vitenarkiv Vis sammendrag

  Abstract Musicians’ body motion plays a fundamental role in ensemble playing, by supporting sound production, communication, and expressivity. This research investigates how Western classical musicians’ head motion during ensemble performances relates to a piece’s phrase structure and musicians’ empathic perspective taking (EPT) profile. Twenty-four advanced piano and singing students took part in the study, and their EPT score was pre-assessed using the Interpersonal Reactivity Index. High and low EPT duos were formed, and musicians were paired with a co-performer from the same and the other EPT group. Musicians rehearsed Fauré’s Automne and Schumann’s Die Kartenlegerin, and performed the pieces one time before and three times after rehearsal. Motion capture data of the musicians’ front head, audio, and MIDI recordings of the performances were collected and analysed. Similarity in musicians’ head motion and tendency to lead/lag their co-performer were computed by extracting, respectively, power and phase difference of the cross-wavelet transforms of the velocity curves of each paired marker. Results demonstrate that the power of interperformer coordination corresponds to the piece’s phrase levels and that singer’s EPT can impact the leader-follower relationships between musicians, depending on piece and take number. In the Fauré piece, the higher the singer’s EPT score, the higher the tendency for the singer to lead and pianist to follow in take 3, and the lower the tendency for the singer to lead and pianist to follow in take 2. These results contribute to a further understanding of the mechanisms underpinning social interactions, by revealing the complexity of the association between empathy and body motion in ensembles in promoting and diffusing leadership between musicians.

• Sara D'Amario, Sten Ternström, Werner Goebl & Laura Bishop (2023). Body motion of choral singers. Frontiers in Psychology. 14. doi: 10.3389/fpsyg.2023.1220904. Fulltekst i vitenarkiv

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• Sara D'Amario, Sten Ternström & Anders Friberg (2023). Proceedings of the Stockholm Music Acoustics Conference. KTH Royal Institute of Technology. ISBN 9789180408653. 194 s. Fulltekst i vitenarkiv

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• Sara D'Amario & Alexander Refsum Jensenius (2025). Workshop on Women Musicians Wellbeing. doi: https:/www.uio.no/ritmo/english/news-and-events/events/workshops/2025/women-wellbeing/. Fulltekst i vitenarkiv
• Sara D'Amario, Andreas Løve, Maja Dyhre Foldal & Alexander Refsum Jensenius (2025). Functional Near Infrared Spectroscopy (fNIRS) Responses of Professional Violinists during Orchestra Performances. Fulltekst i vitenarkiv
• Sara D'Amario (2025). Well-being Experiences of Professional Women Musicians during Live Concert Performances. Fulltekst i vitenarkiv Vis sammendrag

• Sara D'Amario & Laura Bishop (2024). Self-Reported Experiences of Musical Togetherness in Music Ensembles. Fulltekst i vitenarkiv
• Sara D'Amario (2024). Cardiac coupling of orchestral musicians and audience members during orchestra performances. Fulltekst i vitenarkiv
• Laura Bishop & Sara D'Amario (2024). Methods tracking four-hand piano performances. Fulltekst i vitenarkiv

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