Audience Musical Absorption: Exploring Attention and Affect in the Live Concert Setting
Why this work is in the frame
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Bibliographic record
Abstract
Musical absorption is a multi-dimensional phenomenon that has been understood in various ways, but is related to strong, immersive, and transformative musical encounters. For this exploratory article, we used a phenomenologically and psychologically informed questionnaire to measure audience members’ reports of musical absorption and affective experiences at the MusicLab Copenhagen research concert with the Danish String Quartet (DSQ). We aimed to examine the relation between musical absorption and (1) attention, mind-wandering, and senses of transformation; (2) affective phenomena of feeling moved or touched and awe; (3) social context, as determined by technological mediation of a livestream; (4) musical context (Beethoven, Schnittke, and folk music); and (5) motion. There were 91 participants in the live audience and 43 participants in the livestreaming audience, who completed questionnaires after each piece in the concert and who had their motion measured through an application that recorded accelerometer data from their smartphones. Drawing on methods from experimental psychology, we found that (1) being “absorbed in the music” was not related to mind-wandering, but it was related to a sense of positive transformation; (2) musical absorption was related to experiences of feeling moved, awe, connectedness, and enjoyment, and to being an “admirer” of the DSQ, as well as to being familiar with the music; (3) being at the live concert facilitated more musical absorption than watching the livestream; (4) the final concert section, containing a collection of folk tunes, promoted the most musical absorption; and (5) within the restrained movement dynamics of the live audience, motion trended as an indicator of an embodied experience of musical absorption. We use these results to engage in a phenomenologically informed and empirically enriched discussion of musical absorption and related affective and attentional dynamics.
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.002 |
| Science and technology studies | 0.001 | 0.002 |
| Scholarly communication | 0.001 | 0.002 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it