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Philosophische FakultätMusikwissenschaftliches Institut

Publikationen

Peer-reviewed Journal Publications

  1. Lyu, Menglan & Egermann, H. (in press). A cross-cultural study in Chinese and Western music: Cultural Advantages in recognition of emotions. Psychology of Music.
  2. Henry, N., Maloney, L., & Egermann, H. (2024). A mixed-method exploratory approach to identifying the utilitarian functions of music listening. Music & Science, 7, 20592043241266972. SAGE Publications Sage UK: London, England. https://doi.org/10.1177/20592043241266972
  3. Paese, S., & Egermann, H. (2024). Meditation as a tool to counteract music performance anxiety from the experts’ perspective. Psychology of Music, 52(1), 59-74. DOI: 10.1177/03057356231155968.
  4. Egermann, H., Siebrasse, A., Weining, C., O’Neill, K., Tröndle, M., & Wald-Fuhrmann, M. (2024). Developing digital classical concert stream offerings–A typology of audience preferences. The Journal of Arts Management, Law, and Society, 1-17. Routledge. https://doi.org/10.1080/10632921.2024.2347397
  5. Owen, C., Egermann, H., & Schiavio, A. (2024). Putting musical feelings into words: Children’s verbal descriptions of music-evoked experiences. Music & Science, 7, 20592043241265318. SAGE Publications Sage UK: London, England. https://doi.org/10.1177/20592043241265318
  6. Gibbs, H. J., Czepiel, A., & Egermann, H. (2023). Physiological synchrony and shared flow state in Javanese gamelan: Positively associated while improvising, but not for traditional performance. Frontiers in Psychology, 14, 1214505. Frontiers Media SA. https://doi.org/10.3389/fpsyg.2023.1214505
  7. Tschacher, W., Greenwood, S., Egermann, H., Wald-Fuhrmann, M., Czepiel, A., & Tröndle, M., & Meier, D. (2023). Physiological synchrony in audiences of live concerts. Psychology of Aesthetics, Creativity, and the Arts, 17(2), 152. Educational Publishing Foundation. https://doi.org/10.1037/aca0000431
  8. Wald-Fuhrmann, M., O’Neill, K., Weining, C., Egermann, H., & Tröndle, M. (2023). The influence of formats and preferences on the aesthetic experience of classical music concert streams. Psychology of Aesthetics, Creativity, and the Arts. https://doi.org/10.1037/aca0000560
  9. Kayser, D., Egermann, H., & Barraclough, N. E. (2022). Audience facial expressions detected by automated face analysis software reflect emotions in music. Behavior Research Methods, 54(3), 1493-1507. https://doi.org/10.3758/s13428-021-01678-3
  10. Detari, A., Clark, T., & Egermann, H. (2022). Musician’s Focal Dystonia: A mere neurological disorder? The role of non-organic factors in the onset of Musician’s Focal Dystonia: an exploratory Grounded Theory study. Journal of Music, Health, and Wellbeing. https://storage.googleapis.com/wzukusers/user-20563976/documents/171786046ba242d2918242a943b1e01b/DETARI%2C%20CLARK%2C%20EGERMANN%20Proof.pdf
  11. Détári, A., & Egermann, H. (2022). Musicians focal dystonia: the Practitioner’s perspective on psychological, psychosocial, and Behavioural risk factors and non-motor symptoms. Medical Problems of Performing Artists, 37(3), 200-206. https://doi.org/10.21091/mppa.2022.3023
  12. Détári, A., & Egermann, H. (2022). Towards a Holistic Understanding of Musician's Focal Dystonia: Educational Factors and Mistake Rumination Contribute to the Risk of Developing the Disorder. Frontiers in Psychology, 13, [882966]. https://doi.org/10.3389/fpsyg.2022.882966. https://www.frontiersin.org/articles/10.3389/fpsyg.2022.882966/abstract
  13. White, S. & Egermann, H. (2021). Do Free Dance Movements Communicate How We Feel? Investigating Emotion Recognition in Dance. Jahrbuch der deutschen Gesellschaft für Musikpsychologie. https://doi.org/10.5964/jbdgm.70
  14. Johnston, D., Egermann, H., & Kearney, G. (2022). The use of binaural based spatial audio in the reduction of auditory hypersensitivity in autistic young people. International Journal of Environmental Research and Public Health, 19(19), 12474 DOI: 10.3390/ijerph191912474
  15. Kayser, D., Egermann, H. & Barraclough, N.E. Audience facial expressions detected by automated face analysis software reflect emotions in music. Behav Res 54, 1493–1507 (2022). https://doi.org/10.3758/s13428-021-01678-3
  16. Tschacher, W., Greenwood, S., Egermann, H., Wald-Fuhrmann, M., Czepiel, A., Tröndle, M., & Meier, D. (2021). Physiological synchrony in audiences of live concerts. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://doi.org/10.1037/aca0000431
  17. Wald-Fuhrmann, M., Egermann, H., O’Neill, K., Czepiel, A., Weining, C., Meier, D., Tschacher, W., Uhde, F., Toelle, J., Tröndle, M. (2021). Music Listening in Classical Concerts: Theory, Literature Review, and Research Program. Frontiers in Psychology, 12, 1324. https://www.frontiersin.org/articles/10.3389/fpsyg.2021.638783/full
  18. O'Neill, K., & Egermann, H. (2022). Development of the Social Experience of a Concert Scales (SECS): The social experience of a live western art music concert influences people’s overall enjoyment of an event but not their emotional response to the music. Music & Science. https://doi.org/10.1177%2F20592043221106478
  19. Gibbs H and Egermann H (2021). Music-Evoked Nostalgia and Wellbeing During the United Kingdom COVID-19 Pandemic: Content, Subjective Effects, and Function. Front. Psychol. 12:647891. doi: 10.3389/fpsyg.2021.647891
  20. Henry, N., Kayser, D. and Egermann, H. (2021). Music in Mood Regulation and Coping Orientations in Response to COVID-19 Lockdown Measures Within the United Kingdom. Front. Psychol. 12:647879. doi: 10.3389/fpsyg.2021.647879.
  21. Egermann, H., & Reuben, F. (2020). “Beauty Is How You Feel Inside”: Aesthetic Judgments Are Related to Emotional Responses to Contemporary Music. Frontiers in Psychology, 11, 2959. https://doi.org/10.3389/fpsyg.2020.510029
  22. O’Neill, K., & Egermann, H. (2020). Induced Empathy Moderates Emotional Responses to Expressive Qualities in Music. Musicae Scientiae. https://doi.org/10.1177/1029864920974729
  23. Lepa, S., Steffens, J., Herzog, M., Egermann, H. (2020). Popular Music as Entertainment Communication: How Perceived Semantic Expression Explains Liking Previously Unknown Music. Media and Communication, 8(3). http://dx.doi.org/10.17645/mac.v8i3.3153 
  24. Altun, F., & Egermann, H. (2021). Temperament systems influence emotion induction but not makam recognition performance in Turkish makam music. Psychology of Music, 49(5), 1088-1101. https://doi.org/10.1177/0305735620922892
  25. Lepa, S., Herzog, M., Steffens, J., Peeters, G., Schönrock, A., Egermann, H. (2020).  A Computational Model for Predicting Perceived Musical Expression in Branding Scenarios. Journal of New Music Research. https://doi.org/10.1080/09298215.2020.1778041
  26. Détári, A., Egermann, H., Vaag, J., Berkjeset, O. (2020). Psychosocial work environment among musicians and in the general workforce in Norway. Frontiers in Psychology: Performance Science. 11: 1315. doi: 10.3389/fpsyg.2020.01315
  27. Johnston, D., Egermann, H. Kearney, G. (2020) SoundFields: A Virtual Reality Game Designed to Address Auditory Hypersensitivity in Individuals with Autism Spectrum Disorder. Applied Sciences (Special Issue Applications of Virtual, Augmented, and Mixed Reality), 10, 2996.
  28. Irrgang, M., Steffens, J., Egermann, H., (2020). From Acceleration to Rhythmicity: Smartphone-Assessed Movement Predicts Properties of Music. Journal of New Music Research, 49. https://doi.org/10.1080/09298215.2020.1715447
  29. Herzog, M., Lepa, S., Egermann, H.., Schönrock, A., Steffens, J. (2020). Towards a common terminology for music branding campaigns. Journal of Marketing Management, 36. https://doi.org/10.1080/0267257X.2020.1713856
  30. Johnston, D., Egermann, H., & Kearney, G. (2019). Measuring the Behavioural Response to Spatial Audio within a Multi-Modal Virtual Reality Environment in Children with Autism Spectrum Disorder. Applied Sciences (Section: Computing and Artificial Intelligence), 9, 3152.
  31. Emerson, G. & Egermann, H. (2018). Exploring the Motivations for Building New Digital Musical Instruments. Musicae Scientiae. https://doi.org/10.1177/1029864918802983
  32. Daffern, H., Camlin, D. A., Egermann, H., Gully, A. J., Kearney, G., Neale, C., & Rees-Jones, J. (2018). Exploring the potential of virtual reality technology to investigate the health and well -being benefits of group singing. International Journal of Performance Arts and Digital Media, 15(1), 1–22. doi:10.1080/14794713.2018.1558807
  33. Johnston, D., Egermann, H., & Kearney, G. (2018). Innovative computer technology in music-based interventions for individuals with autism moving beyond traditional interactive music therapy techniques. Cogent Psychology, 5(1), 1554773.
  34. Emerson, G., & Egermann, H. (2018). Gesture-sound causality from the audience’s perspective: Investigating the aesthetic experience of performances with digital musical instruments. Psychology of Aesthetics, Creativity, and the Arts, 12(1), 96-109.
  35. Irrgang, M., & Egermann, H. (2016). From Motion to Emotion: Accelerometer Data Predict Subjective Experience of Music. PloS ONE, 11(7),  e0154360.
  36. Giordano, B., Egermann, H., & Bresin, R. (2014). The production and perception of emotionally expressive walking sounds: Similarities between musical performance and everyday motor activity. PLoS ONE 9(12): e115587.
  37. Lepa, S., Hoklas, A-K., Egermann, H., Weinzierl, S. (2015). Sound, materiality and embodiment challenges for the concept of 'musical expertise' in the age of digital mediatization. Convergence: The International Journal of Research into New Media Technologies, 21(3), 294-300. 10.1177/1354856515579837
  38. Förstel, A. & Egermann, H. (2015). Die DJ-Performance im Club-Kontext – eine Beobachtungsstudie. Jahrbuch Musikpsychologie, 25, 117-133.
  39. Egermann, H., Fernando, N., Chuen, L., McAdams, S. (2015). Music induces universal emotion-related psychophysiological responses: comparing Canadian listeners to Congolese Pygmies. Frontiers in Psychology, 5, 1341.
  40. Fernando, N., Egermann, H., Chuen, L., Kimbembé, B. McAdams, S. (2014). Musique et émotion. Quand deux disciplines travaillent ensemble à mieux comprendre le comportement musical humain. Anthropologie et Société, 38(1),167-191.
  41. Egermann, H. & McAdams, S. (2013). Empathy and emotional contagion as a link between recognized and felt emotions in music listening. Music Perception, 31(2),137-153.
  42. Egermann, H., Pearce, M., Wiggins, G., McAdams, S. (2013). Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music. Cognitive Affective Behavioral Neuroscience, 13(3), 533-553.
  43. Egermann, H., Kopiez, R., Altenmüller, E. (2013). The Influence of Social Normative and Informational Feedback on Musically Induced Emotions in an Online Music Listening Setting. Psychomusicology: Music, Mind, and Brain, 23(1), 21-32.
  44. Egermann, H., Sutherland, M. E., Grewe, O., Nagel, F., Kopiez, R., Altenmüller, E. (2011). Does music listening in a social context alter experience? A physiological and psychological perspective on emotion. Musicae Scientiae, 15(3), 307-323.
  45. Egermann, H., Nagel, F., Kopiez, R., Altenmüller, E. (2009). Continuous Measurement of Musically-Induced Emotion - A Web Experiment. International Journal of Internet Science, 4(1), 4-20.
  46. Egermann, H., Grewe, O., Kopiez, R., Altenmüller, E. (2009). Social feedback influences musically induced emotions. Annals of the New York Academy of Sciences, 1169, 346-350.
  47. Sutherland, M., Grewe, Egermann, H., Nagel, F., Kopiez, R., Altenmüller, E. (2009). The Influence of Social Situations on Music Listening. Annals of the New York Academy of Sciences, 1169, 363-367.
  48. Egermann, H., Kopiez, R., Reuter, C. (2006). Is there an effect of subliminal messages in music on choice behavior? Journal of Articles in Support of the Null Hypothesis, 4(2), 32-46.

Other publications

  1. Kreuzer, M., Wald-Fuhrmann, M., Weining, C., Meier, D., O’Neill, K., Tschacher, W., Tröndle, M., & Egermann, H. (2023). Digital concert experience: An online research project on live streaming during the pandemic. In Classical music and opera during and after the COVID-19 pandemic: Empirical research on the digital transformation of socio-cultural institutions and aesthetic forms (pp. 95-112). Springer Nature Switzerland Cham.
  2. Egermann, H., Lepa, S., Herzog, M., & Steffens, J. (2022). Evidenzbasierte Praxis im Music Branding–Musikalische Markenkommunikation wird erwachsen. In H. Schwetter, L. Grünewald-Schukalla, & M. Ahlers (Eds.), Musik & Marken: Jahrbuch Musikwirtschafts- und Musikkulturforschung 2021 (Jahrbuch für Musikwirtschafts- und Musikkulturforschung). Springer. https://link.springer.com/content/pdf/10.1007/978-3-658-36472-4_4.pdf
  3. Tröndle, M., Greenwood, S., Ramakrishnan, C., Uhde, F., Egermann, H., & Tschacher, W. (2022). Integrated Methods: A Call for Integrative and Interdisciplinary Aesthetics Research. In M. Nadal, & O. Vartanian (Eds.), The Oxford Handbook of Empirical Aesthetics Oxford University Press. https://doi.org/10.1093/oxfordhb/9780198824350.013.18
  4. Egermann, H. (2019). Creating a Sounding Image: Psychological Aspects of Audio Branding. In M. Grimshaw, M. Walther-Hansen, & M. Knakkergaard (Hrsg.), The Oxford Handbook of Sound & Imagination. Oxford: Oxford University Press.
  5. Egermann, H. & Kreutz, G. (2017). Emotionen und ästhetische Gefühle. In A. C. Lehmann & R. Kopiez (Hrsg.), Handbuch Musikpsychologie. Göttingen, Germany: Hogrefe.
  6. Bovermann, T., de Campo, A., Egermann, H., Hardjowirogo, S., Weinzierl S., (2017).  Introduction. In T. Bovermann, A. de Campo, H. Egermann, S-I. Hardjowirogo, S. Weinzierl (Hrsg.) Musical Instruments in the 21st Century: Identities, Configurations, Practices (S. 1-5). Singapore: Springer.
  7. Emerson, G., & Egermann, H. (2017). Mapping, Causality and the Perception of Instrumentality: Theoretical and Empirical Approaches to the Audience’s Experience of Digital Musical Instruments. In T. Bovermann, A. de Campo, H. Egermann, S-I. Hardjowirogo, S. Weinzierl (Hrgs.), Musical Instruments in the 21st Century: Identities, Configurations, Practices (S. 363-370). Singapore: Springer.
  8. Egermann, H. & Lothwesen, K.S. (2017). Musikforschung 2.0 - Internet-basierte Erhebungsmethoden. In Schulten, M. L. & Lothwesen, K. S. (Hrsg.) Methoden empirischer Forschung in der Musikpädagogik (S. 183-202). Eine anwendungsbezogene Einführung. Münster, Germany: Lit.
  9. Muellensiefen, D., Egermann, H., Burrows, S. (2015). Radio station jingles: How statistical learning applies to a special genre of audio logos. In K. Bronner, R. Hirt, C. Ringe (Hrsg.), Audio Branding Yearbook 2014-2015 (S. 53-72). Baden-Baden: Nomos.
  10. Egermann, H. (2013). Zum Zusammenhang zwischen Hörererwartungen und Emotionen. Zeitschrift der Gesellschaft für Musiktheorie, 10(2), 329-344.
  11. Egermann, H. (2013). Linking Theories of Emotion-Induction to Applications in Audio Branding. In K. Bronner, R. Hirt, C. Ringe (Hrsg.). Audio Branding Yearbook 2012-2013 (S.155-167). Baden-Baden: Nomos.
  12. Egermann, H. & Haller, K. (2009). Ohrwurm auf Bestellung, Einblicke in die akustische Markenführung. Research & Results, 3, 50-51.
  13. Egermann, H. (2009). Music influences listeners’ emotion – A Review on Evidence from Psychological and Physiological Research. Jahrbuch Musiktherapie/Music Therapy Annual, 5, 35-58.
  14. Johnston, D., Egermann, H., & Kearney, G. (2019). An Interactive Spatial Audio Experience for Children with Autism Spectrum Disorder. Audio Engineering Society Conference: 2019 AES International Conference on Immersive and Interactive Audio. Retrieved from http://www.aes.org/e-lib/browse.cfm?elib=20429
  15. Johnston, D., Egermann, H., Kearney, G. (2018). SoundFields: A Mixed Reality Spatial Audio Game for Children with Autism Spectrum Disorder. Audio Engineering Society, Convention e-Brief 129, Presented at the 145th Convention 2018 October 17 – 20, New York, NY, USA, 1-5.
  16. Irrgang, M., Steffens, J., Egermann, H. (2018). Smartphone-Assessed Movement Predicts Music Properties: Towards Integrating Embodied Music Cognition into Music Recommender Services via Accelerometer. In Proceedings of the 5th International Conference on Movement Computing (MOCO '18), ACM Digital Library,1-4.
  17. Steffens, J., Lepa, S., Herzog, M., Schoenrock, A., Egermann, H., Herzog, M. (2018).  „Bridging the Semantic Gap“ – Kann der semantische Ausdruck von Musik mithilfe von akustischen Signaleigenschaften vorhersagt werden? In Fortschritte der Akustik: Tagungsband d. 44. DAGA. München, Germany: Deutsche Gesellschaft für Akustik, 1-4.
  18. Steffens, J., Egermann, H., Schoenrock, A., Herzog, M., Lepa, S. (2017). Entwicklung eines Systems zur automatischen Musikempfehlung im Kontext des Music Brandings. In Fortschritte der Akustik: Tagungsband d. 43. DAGA. Nürnberg, Germany: Deutsche Gesellschaft für Akustik, 1-4.
  19. Steffens, J., Egermann, H., Schoenrock, A., Herzog, M., Lepa, S. (2017) High-level chord features extracted from audio can predict perceived musical expression. Proceedings of the 18th International Society for Music Information Retrieval Conference, Suzhou, China: ISMIR, 1-2.
  20. Herzog, M., Lepa, S., Steffens, J., Schoenrock, A., Egermann, H. (2017). Predicting Musical Meaning in Audio Branding Scenarios. In Proceedings of the 25th Anniversary Conference of the European Society for Cognitive Science of Music, Ghent, Belgium: ESCOM, 75-79.
  21. von Coler, H., Treindl, G., Egermann, H., Weinzierl, S. (2017). Development and Evaluation of an Interface with Four-Finger Pitch Selection. In Proceedings of the 142nd Audio Engineering Society Convention. Hamburg, Germany: Audio Engineering Society, 1-8.
  22. Herzog, M., Lepa, S., Egermann, H. (2016). Towards automatic music recommendation for audio branding scenarios. Proceedings of the 17th International Society for Music Information Retrieval Conference, New York, United States: ISMIR, 1-3.
  23. Irrgang, M., Egermann, H., Acar, E., Lommatzsch, A. (2015). Predicting Geneva Emotional Music Scale ratings based on PDA-assessed gestural motion data.  Proceedings of the 11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment, Plymouth, UK, June 2015.
  24. Papadogianni, M., Egermann, H., Weinzierl, S. (2015). Auditive and audiotactile music perception of cochlear implant users. Proceedings of the Annual Meeting of the German Acoustical Society, Nürnberg, Germany, March 2015.
  25. Egermann, H., Förstel, A., Lehrbach, N., Wende, M. (2015). Swinging to the beat: Movement induction in electronic dance music. In J. Ginsborg, A. Lamont, & S. Bramley (Hrsg.), Proceedings of the Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music. (S. 338-340). Manchester: Chapel Press.
  26. Förstel, A., Hardjowirogo, S-I., Egermann, H. (2015). The Actions that Make a Musical Instrument. Exploring Club-DJing as an Instrumental Practice. In R. Kronland-Martinet, M. Aramaki, S. Ystad, & J. Eaton (Hrsg.), Proceedings of the 11th International Symposium on Computer Music Multidisciplinary Research (CMMR) Music, Mind, and Embodiment. (S. 762-769). (Publications of the LMA). Marseille, France: The Laboratory of Mechanics and Acoustics.
  27. Steger, D., Egermann, H., Weinzierl, S. (2015). Spielbewegungen von Musikinstrumenten und deren Bedeutung für das Klangergebnis - Ein experimentelle Analyse durch Motion Tracking klassischer Orchesterinstrumente und Auralisation der Bewegungsdaten. Proceedings of the Annual Meeting of the German Acoustical Society, Nürnberg, Germany, March 2015.
  28. Hardjowirogo, S.-I. & Egermann, H. (2014). Systematizing history: A database for electronic and digital musical instruments including functional and aesthetical properties. Proceedings of the 9th Conference on Interdisciplinary Musicology, Berlin, Germany, December 2014.
  29. Bovermann, T., Egermann, H., Foerstel, A., Hardjowirogo, S.-I., Hinrichsen, A., Hildebrand Marques Lopes, D., Pysiewicz, A., Weinzierl, S., de Campo, A. (2014). 3DMIN - Challenges and interventions for the Design, Development and Dissemination of New Musical Instruments. Proceedings of the International Computer Music Conference, Athens, Greece July 2014.
  30. Graefe, C., Egermann, H. (2014). Die Verwendung von hierarchischen linearen Modellen zur Audio-Feature-basierten Vorhersage von kontinuierlichen emotionalen Reaktionen auf Musik. Proceedings of the Annual Meeting of the German Acoustical Society, Oldenburg, Germany, March 2014.
  31. Pysiewicz, A., Egermann, H. (2014). Untersuchung zur Validität von Hörversuchen im Internet. Proceedings of the Annual Meeting of the German Acoustical Society, Oldenburg, Germany, March 2014.
  32. Egermann, H., Nagel, F., Kopiez & R. Altenmüller, E. (2006). Online measurement of emotional musical experiences using internet-based methods - An exploratory approach. Proceedings of the 9th International Conference of Music Perception and Cognition (ICMPC), Bologna, Italy, August 2006.

Edited Books and Monographs

  1. Lepa, S., Müller-Lindenberg, R., & Egermann, H. (Eds.) (2023). Classical music and opera during and after the COVID-19 pandemic: Empirical research on the digital transformation of socio-cultural institutions and aesthetic forms. Springer.
  2. Bovermann, T., de Campo, A., Egermann, H., Hardjowirogo, S-I., Weinzierl, S. (2017) (Eds.). Musical Instruments in the 21st Century: Identities, Configurations, Practices. Singapore: Springer.
  3. Egermann, H. (2010). Social Influences on Emotions Experiences During Music Listening – An Exploratory Study Using Physiological and Web-Based Psychological Methods. Wissenschaftlicher Verlag Berlin: Berlin.
  4. Egermann, H. (2008). Emotionen@Musik. Was Musikhörer empfinden – Eine Internet-Studie zur Emotionsmessung.  Tectum Verlag: Marburg.

 

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