Lara Pearson
Biographic Data
| ID | 3593857 |
|---|---|
| NAME | Lara Pearson |
| GIVEN NAMES | Lara |
| FAMILY NAME | Pearson |
| SIGNATURE | PEARSON L |
| AFFILIATIONS | Max Planck Institute for Empirical Aesthetics |
| ORCID | 0000-0002-5073-8738 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Round Table: Audiency beyond the Concert Hall: Theory and Ethnographic Case Studies
In recent years, the neologism audiency has found traction as a direct counterpart to the term performance , not least among theatre and performance scholars. 1 It announces audience research that is inclined to understand phenomena of witnessing as action and as involved in processes that stand in a mutually constitutive relationship with performance. This contrasts with the more familiar focus on groups of people (‘audiences’) and their constit…
Adjusting to the Other: Audiencing through Gesture in Karnatak Vocal Lessons
In addition to their pedagogic dimensions, music lessons are contexts for performing and audiencing. This article focuses on performance–audiency interactions in Karnatak vocal lessons in South India, exploring how teachers and students audience each other. Drawing on work from phenomenological and pragmatist traditions, I analyse ways that gesture, gaze, and utterance contribute to teachers’ and students’ grip on their interactions, both with th…
The Co‐Structuring of Gesture‐Vocal Dynamics: An Exploration in Karnatak Music Performance
In music performance contexts, vocalists tend to gesture with hand and upper body movements as they sing. But how does this gesturing relate to the sung phrases, and how do singers’ gesturing styles differ from each other? In this study, we present a quantitative analysis and visualization pipeline that characterizes the multidimensional co‐structuring of body movements and vocalizations in vocal performers. We apply this to a dataset of performa…
Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset
This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from ou…
Cross-Cultural Work in Music Cognition
Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys t…
Coarticulation and Gesture: An Analysis of Melodic Movement in South Indian Raga Performance
This article presents an analysis of small-scale melodic movement in South Indian rāga performance employing the concept of coarticulation, defined here as the tendency for the performance of a unit to be influenced by that which precedes or follows it. Coarticulation has been much studied in phonetics and also explored to some extent in sign language and the kinematics of instrumental performance. Here I seek to account for variation in the perf…
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Coarticulation and Gesture: An Analysis of Melodic Movement in South Indian Raga Performance
This article presents an analysis of small-scale melodic movement in South Indian rāga performance employing the concept of coarticulation, defined here as the tendency for the performance of a unit to be influenced by that which precedes or follows it. Coarticulation has been much studied in phonetics and also explored to some extent in sign language and the kinematics of instrumental performance. Here I seek to account for variation in the perf…
Cross-Cultural Work in Music Cognition
Many foundational questions in the psychology of music require cross-cultural approaches, yet the vast majority of work in the field to date has been conducted with Western participants and Western music. For cross-cultural research to thrive, it will require collaboration between people from different disciplinary backgrounds, as well as strategies for overcoming differences in assumptions, methods, and terminology. This position paper surveys t…
Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset
This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from ou…
The Co‐Structuring of Gesture‐Vocal Dynamics: An Exploration in Karnatak Music Performance
In music performance contexts, vocalists tend to gesture with hand and upper body movements as they sing. But how does this gesturing relate to the sung phrases, and how do singers’ gesturing styles differ from each other? In this study, we present a quantitative analysis and visualization pipeline that characterizes the multidimensional co‐structuring of body movements and vocalizations in vocal performers. We apply this to a dataset of performa…
Round Table: Audiency beyond the Concert Hall: Theory and Ethnographic Case Studies
In recent years, the neologism audiency has found traction as a direct counterpart to the term performance , not least among theatre and performance scholars. 1 It announces audience research that is inclined to understand phenomena of witnessing as action and as involved in processes that stand in a mutually constitutive relationship with performance. This contrasts with the more familiar focus on groups of people (‘audiences’) and their constit…
Adjusting to the Other: Audiencing through Gesture in Karnatak Vocal Lessons
In addition to their pedagogic dimensions, music lessons are contexts for performing and audiencing. This article focuses on performance–audiency interactions in Karnatak vocal lessons in South India, exploring how teachers and students audience each other. Drawing on work from phenomenological and pragmatist traditions, I analyse ways that gesture, gaze, and utterance contribute to teachers’ and students’ grip on their interactions, both with th…
Neuroscience and Music Perception (5 works) · Computer Science (3 works) · Diverse Music Education Insights (3 works) · Diverse Musicological Studies (3 works) · Gesture (3 works) · Linguistics (3 works) · Musical (3 works) · Art (2 works) · Artificial Intelligence (2 works) · Coarticulation (2 works)