Laura Bishop
Biographic Data
| ID | 112381 |
|---|---|
| NAME | Laura Bishop |
| GIVEN NAMES | Laura |
| FAMILY NAME | Bishop |
| SIGNATURE | BISHOP L |
| AFFILIATIONS | University of Oslo |
| ORCID | 0000-0002-0656-3969 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 238 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 3 |
Moving together, feeling together: Body coordination, pupil size, and musical togetherness in classical duo performance
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 togeth…
Focus of attention affects togetherness experiences and body interactivity in piano duos
Self-reported experiences of togetherness in classical music ensembles
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 t…
Commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira
This commentary on Alves and Nogueira (2024) proposes a potential approach to compare expert and non-expert music teachers’ use of embodied teaching strategies in one-to-one lessons with advanced performance students. The approach is hypothesis-driven, and builds on Alves and Nogueira’s theoretical framework of expert competency domains, as well as empirical studies of musical communication and one-to-one teaching strategies. It is argued that a …
Interperformer coordination in piano-singing duo performances: Phrase structure and empathy impact
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 …
Come_in: A qualitative framework for content, meanings and intersubjectivity in free dyadic improvisations
Introduction \n \nA growing body of research reflects the interest in meaningful moments in music therapeutic treatment and the client--therapist relationship; however, little insight has been given into the client’s subjective experience and the interweaving processes between a therapist and a client. Central to this initial research is the question of how dialogue as a substantial relational quality emerges and intersubjectively manifests in fr…
Move like everyone is watching: Social context affects head motion and gaze in string quartet performance
Ensemble musicians engage with each other visually through glances and body motion. We conducted a case study to test how string quartet musicians would respond to playing conditions that were meant to discourage or promote visually communicative behaviour. A quartet performed in different seating configurations under rehearsal and concert conditions. Quantity of head motion was reduced when musicians' gaze was constrained. Differences in gaze an…
Eye gaze as a means of giving and seeking information during musical interaction
During skilled music ensemble performance, a multi-layered network of interaction processes allows musicians to negotiate common interpretations of ambiguously-notated music in real-time. This study investigated the conditions that encourage visual interaction during duo performance. Duos recorded performances of a new piece before and after a period of rehearsal. Mobile eye tracking and motion capture were used in combination to map uni- and bid…
When they listen and when they watch: Pianists’ use of nonverbal audio and visual cues during duet performance
Nonverbal auditory and visual communication helps ensemble musicians predict each other’s intentions and coordinate their actions. When structural characteristics of the music make predicting co-performers’ intentions difficult (e.g., following long pauses or during ritardandi), reliance on incoming auditory and visual signals may change. This study tested whether attention to visual cues during piano–piano and piano–violin duet performance incre…
Teaching Bioethics at the Secondary School Level
Recognition that it is both possible and important to teach secondary school students about bioethics issues and theory has grown slowly within the field of bioethics. In the late 1970s and 1980s, a few first‐generation pioneers recognized the teaching and learning opportunities inherent in bioethics and obtained pilot grants to educate high school teachers about bioethics issues. In the 1990s and 2000s, second‐generation efforts explored the pos…
C׳Mon dude: Users adapt their behaviour to a robotic agent with an attention model
Late Pliocene Oldowan excavations at Kanjera South, Kenya
The appearance of Oldowan sites c. 2.5 million years ago signals one of the most important adaptive shifts in human evolution. Large mammal u butchery, stone artefact manufacture and novel transport and discard behaviours led to the accumulation of the first recognized archaeological debris. Although the earliest instances of these behaviours are 2.5 million years ago, most of what we know about Oldowan palaeoecology and behaviour is derived from…
Tools Underfoot: Human Trampling as an Agent of Lithic Artifact Edge Modification
A series of eight replication experiments tests the proposition that human trampling of stone flakes can produce edge damage that mimics deliberate retouch. Retouchlike edge damage, breakage, and other forms of macroscopic mechanical damage were observed on large numbers of pieces in all trampled sets. Experiments measured the relative contributions of three variables-raw material, artifact density, and substrate-in generating damage. Results ind…
Bovids as indicators of Plio-Pleistocene paleoenvironments in East Africa
Variability in traces of Middle Pleistocene hominid behavior in the Kapthurin Formation, Baringo, Kenya
No abstract
Tools Underfoot: Human Trampling as an Agent of Lithic Artifact Edge Modification
A series of eight replication experiments tests the proposition that human trampling of stone flakes can produce edge damage that mimics deliberate retouch. Retouchlike edge damage, breakage, and other forms of macroscopic mechanical damage were observed on large numbers of pieces in all trampled sets. Experiments measured the relative contributions of three variables-raw material, artifact density, and substrate-in generating damage. Results ind…
Variability in traces of Middle Pleistocene hominid behavior in the Kapthurin Formation, Baringo, Kenya
No abstract
Bovids as indicators of Plio-Pleistocene paleoenvironments in East Africa
C׳Mon dude: Users adapt their behaviour to a robotic agent with an attention model
Variability in traces of Middle Pleistocene hominid behavior in the Kapthurin Formation, Baringo, Kenya
No abstract
Bovids as indicators of Plio-Pleistocene paleoenvironments in East Africa
Tools Underfoot: Human Trampling as an Agent of Lithic Artifact Edge Modification
A series of eight replication experiments tests the proposition that human trampling of stone flakes can produce edge damage that mimics deliberate retouch. Retouchlike edge damage, breakage, and other forms of macroscopic mechanical damage were observed on large numbers of pieces in all trampled sets. Experiments measured the relative contributions of three variables-raw material, artifact density, and substrate-in generating damage. Results ind…
Late Pliocene Oldowan excavations at Kanjera South, Kenya
The appearance of Oldowan sites c. 2.5 million years ago signals one of the most important adaptive shifts in human evolution. Large mammal u butchery, stone artefact manufacture and novel transport and discard behaviours led to the accumulation of the first recognized archaeological debris. Although the earliest instances of these behaviours are 2.5 million years ago, most of what we know about Oldowan palaeoecology and behaviour is derived from…
When they listen and when they watch: Pianists’ use of nonverbal audio and visual cues during duet performance
Nonverbal auditory and visual communication helps ensemble musicians predict each other’s intentions and coordinate their actions. When structural characteristics of the music make predicting co-performers’ intentions difficult (e.g., following long pauses or during ritardandi), reliance on incoming auditory and visual signals may change. This study tested whether attention to visual cues during piano–piano and piano–violin duet performance incre…
Teaching Bioethics at the Secondary School Level
Recognition that it is both possible and important to teach secondary school students about bioethics issues and theory has grown slowly within the field of bioethics. In the late 1970s and 1980s, a few first‐generation pioneers recognized the teaching and learning opportunities inherent in bioethics and obtained pilot grants to educate high school teachers about bioethics issues. In the 1990s and 2000s, second‐generation efforts explored the pos…
C׳Mon dude: Users adapt their behaviour to a robotic agent with an attention model
Eye gaze as a means of giving and seeking information during musical interaction
During skilled music ensemble performance, a multi-layered network of interaction processes allows musicians to negotiate common interpretations of ambiguously-notated music in real-time. This study investigated the conditions that encourage visual interaction during duo performance. Duos recorded performances of a new piece before and after a period of rehearsal. Mobile eye tracking and motion capture were used in combination to map uni- and bid…
Move like everyone is watching: Social context affects head motion and gaze in string quartet performance
Ensemble musicians engage with each other visually through glances and body motion. We conducted a case study to test how string quartet musicians would respond to playing conditions that were meant to discourage or promote visually communicative behaviour. A quartet performed in different seating configurations under rehearsal and concert conditions. Quantity of head motion was reduced when musicians' gaze was constrained. Differences in gaze an…
Interperformer coordination in piano-singing duo performances: Phrase structure and empathy impact
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 …
Come_in: A qualitative framework for content, meanings and intersubjectivity in free dyadic improvisations
Introduction \n \nA growing body of research reflects the interest in meaningful moments in music therapeutic treatment and the client--therapist relationship; however, little insight has been given into the client’s subjective experience and the interweaving processes between a therapist and a client. Central to this initial research is the question of how dialogue as a substantial relational quality emerges and intersubjectively manifests in fr…
Commentary on “Embodiment Consciousness in Music Performance Pedagogy” by Alves and Nogueira
This commentary on Alves and Nogueira (2024) proposes a potential approach to compare expert and non-expert music teachers’ use of embodied teaching strategies in one-to-one lessons with advanced performance students. The approach is hypothesis-driven, and builds on Alves and Nogueira’s theoretical framework of expert competency domains, as well as empirical studies of musical communication and one-to-one teaching strategies. It is argued that a …
Focus of attention affects togetherness experiences and body interactivity in piano duos
Self-reported experiences of togetherness in classical music ensembles
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 t…
Moving together, feeling together: Body coordination, pupil size, and musical togetherness in classical duo performance
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 togeth…
Neuroscience and Music Perception (8 works) · Psychology (8 works) · Computer Science (6 works) · Art (5 works) · Cognitive psychology (5 works) · Action Observation and Synchronization (4 works) · Communication (4 works) · Diverse Music Education Insights (4 works) · Geography (4 works) · Geology (4 works)