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Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

Study concerts (or "class evenings") are concerts in which students of the Mozarteum University perform on stage. They are organised either as part of courses or by the respective departments - and are free to attend.

A variety of projects will explore opportunities for instructional development to provide students with diverse and appropriate learning opportunities, developing and documenting various formats and presenting them at professional and interdisciplinary conferences.

News … Home News Performance orientation in instrumental and singing lessons Performance orientation in instrumental and singing lessons 01.10.2019 Research project Heike Henning Project management Heike Henning Duration current In a current research project, performance orientation in music lessons is to be investigated. Since there are no validated scales yet on how strong the performance orientation of (music school) teachers is, a corresponding questionnaire is currently being developed. This will consist of two subscales: Self-related performance orientation, i.e., how important performance is in one's own musical actions, and performance orientation in teaching, which is about attitudes and actions in the teaching context. In order to check the individual items of the new questionnaire for comprehensibility and internal consistency, it will first be sent to interested students and teachers and then an item reduction will be carried out. Subsequently, the questionnaire will be validated with previously developed scales, for example, on perfectionism, performance motivation, and conscientiousness, and a statement will be made about the extent to which performance orientation is pronounced among music school teachers in German-speaking countries and whether it is related to (professional) satisfaction.

For his artistic-music pedagogical project "voice & piano" Reinhard Blum, lecturer at the Department of Music Education Innsbruck, was nominated together with Christian Kraler (University of Innsbruck) for the shortlist of the Ars Docendi State Award for Excellent Teaching 2019 in the category "Research-related or art-guided teaching".

News … Home News Metronome studies Metronome studies 01.03.2020 Research project Heike Henning Project management Heike Henning Duration 3 Mar 2020 - current Study 1: Internal tempo representations In this study, tempo representations of two pieces ( Stayin' Alive by the Bee Gees and Air by Bach) were examined at five measurement time points three days apart.  The aim of the research project was to explore the stability and accuracy of tempo memory in musicians* and non-musicians*. In addition, it was investigated whether physical relaxation and activation induce a change in tempo preconceptions. Tempo preconceptions were measured by tapping evenly on a box. Sixty-three non-musicians (defined as those individuals who do not study or have not studied music) and 55 musicians participated in the study. The results indicate that individuals are able to reproduce musical pieces very accurately and stably. Compared to non-musicians, musicians were able to reproduce the tempo of both pieces of music more correctly on average and fluctuated less in their tempo indications. It was noticeable that both groups were able to reproduce the tempo of Stayin' Alive more accurately than the tempo of Air . This could be explained by the different tempos of the pieces, or by the fact that there is a clear original tempo for the Pop piece, while different interpretations exist for the Air piece. The hypotheses about a connection between physical activation/relaxation (in the form of sports and meditation) and the tempo perceptions could not be confirmed. However, synchronous accompaniment mechanisms (e.g., moving to the beat, tapping along with the foot) and simultaneous singing along, as well as greater musical perceptual ability, were found to lead to more accurate tempo representations. Study 2: Tempo Representations in Practical Music Making This study was a conceptual replication of Study 1, this time measuring musical tempos through practical music making. At the beginning of the study, the participating 35 professional musicians (people who study or have studied music) and 26 amateur musicians (people who do not study music but play an instrument or sing) self-selected a piece of music for the study. Audio recordings of this piece were sent in at five measurement times at intervals of three days, with the aim of trying to match the self-selected target tempo as closely as possible. As in Study 1, the influence of synchronous accompaniment mechanisms, physical relaxation/activation, and musical perceptual ability was examined. The results indicate that musical tempo memory is higher and more accurate when playing music than when the tempo is merely typed (Study 1). However, no differences were found between professional and amateur musicians; professional musicians even tended to reproduce tempos more inaccurately. This could be explained by the high expressive importance of musical tempo choice and could be investigated in more detail in further studies. As in the first study, there was no correlation between the musical tempos chosen and physical relaxation or activation. Overall, then, Study 1 and Study 2 indicate that musical tempos are remembered very accurately and stably, and external influences show little influence. The role of musical expertise seems to vary depending on the reproduction strategy and should be further investigated. Study 3: Musical tempo recall of pop pieces In Study 3, the question of whether the accuracy of musical tempo memory depends on the target tempo of a piece was investigated. For this purpose, 19 well-known pop pieces covering a wide range of tempos (53 - 169 bpm) were selected in a preliminary study. These were then incorporated into an online study, where first those pieces were selected from all those known to the participant. Then, for each piece, tempos were reported twice: First, as in Study 1, a tempo performance was determined by regularly clicking on an application. Then, the piece of music was played at the clicked tempo and the tempo of the audio track was further adjusted (if desired). This study involved 402 participants, including 104 non-musicians*, 137 amateur musicians*, and 161 professional musicians*. Preliminary results show that the reproduced tempos are more accurate when the audio track is adjusted than when the tempos are clicked. In addition, as musical expertise increased, so did accuracy. Thus, non-musicians* showed the lowest accuracy of tempos, followed by amateur musicians* and professional musicians*. In addition, there was an interaction between musical status and reproduction method, indicating that individuals with less musical experience benefit more from being able to match audio tracks. Interestingly, there was an inverted U-shaped relationship between the tempo of the musical piece and accuracy: pieces around 100 bpm were reproduced most accurately, faster and slower tempos were remembered less accurately. Publications: Henning, H., Vigl, J., & Gerstgrasser, S. (2020). The Inner Metronome . Submission to the Research Competition Mozarteum (RCM), awarded second prize. Vigl, J., Gerstgrasser, S., Talamini, F., & Henning, H. (2022 ). Feel the beat: Stability and accuracy of musical tempo cues . Poster presentation at the long night of research in Innsbruck. Vigl, J., Gerstgrasser, S., Talamini, F., & Henning, H. (2022). Accuracy and stability of musical tempo memory and the role of music expertise. Manuscript submitted to Music Perception.