My research draws on diverse methods and perspectives from philosophy, empirical research and music technology to forge a transdisciplinary musicology. I am particularly interested in exploring the interstices between theoretical and empirical approaches. My actual research projects explore the application of music as stimulus within empirical practice, music and affectivity, and situated approaches to musical experiencing. In addition, I offer advice and support on the design and realisation of research projects regarding audio and video technological requirements.
|2014||PhD (summa cum laude), University of Music Karlsruhe|
|2001-2007||Diploma in Audio- and Video-Engineering, Robert Schumann School of Music and Media and University of Applied Sciences, Düsseldorf|
|1999-2001||Studies in Musicology at the Heidelberg University|
|Since 11/2013||Senior Research Fellow, Max Planck Institute for Empirical Aesthetics|
|2010-2013||Lecturer, Institute for Musicology and Music Informatics, University of Music, Karlsruhe|
|2007-2010||Research Fellow and Lecturer, Institute for Musicology and Music Informatics, University of Music, Karlsruhe|
Seibert, C. (forthcoming). Situated approaches to musical experience. In D. Clarke, E. F. Clarke, and R. Herbert (Eds.), Music and Consciousness 2. Oxford: Oxford University Press.
Seibert, C., Toelle J., & Wald-Fuhrmann, M. (forthcoming). Live und interaktiv: ästhetisches Erleben im Konzert als Gegenstand empirischer Forschung. In Martin Tröndle (Ed.), Das Konzert. Neue Aufführungskonzepte für eine klassische Form. Dritte, vollständig überarbeitete und erweiterte Auflage. Bielefeld: Transcript.
Seibert, C. (2016). Musik und Affektivität: Systemtheoretische Perspektiven für eine transdisziplinäre Musikforschung. Weilerswist: Velbrück Wissenschaft.
Seibert, C. and Troge, T. A. (2010). Music as Space of Possibility. In S. M. Demorest, S. J. Morisson & P. S. Campbell (Eds.), Proceedings of the 11th International Conference on Music Perception and Cognition (pp. 720-725). Seattle, USA: University of Washington.
Conference Papers (Selection):
"Nonverbale Synchronie und Musik-Erleben im klassischen Konzert" [Non-verbal Synchrony and Musical Experiencing in Classical Concerts]
Anual Meeting of the German Society of Music Psychology, 15 -17 September, Hamburg University
Situated aspects of joint music performance in a longitudinal field study
ESCOM – European Society for the Cognitive Sciences of Music, 31 July - 4 August 2017, Ghent University
"Situated aspects of musical practice: a framework and a field study"
20th Quinquennial Congress of the International Musicological Society, 19 - 23 March, Tokyo University of the Arts
Affective Intentionality of Musical Feelings"
ICME4 – 4th International Conference on Music and Emotion, 12 - 16 October, Geneva University
"Ästhetische Erfahrung von Musik in Experimentalsituationen" [Aesthetic Experience in Experimental Situations]
GAP.9 – 9th Int. Congress of the German Society for Analytic Philosophy, 14 - 17 September, Osnabrück University
"Music(al Experience) Beyond Brain and Body? Situated Approaches to Musical Experience"
2nd International Conference on Music and Consciousness, 14 - 17 April 2015, University of Oxford
"Musik als Möglichkeit: Systemtheoretische Perspektiven für eine transdisziplinäre Musikforschung"
Jahrestagung der Gesellschaft für Musikforschung, 17 - 20 September 2014, Ernst-Moritz-Arndt-Universität Greifswald
"Towards a Situated Aesthetics of Music: Contextualizing Embodiment Theoretically"
5th International Symposium on Music/Sonic Art: Practices and Theories, 26 - 29 June 2014, University of Music Karlsruhe
"Affective Structural Coupling and Situated Affectivity in Complex Musical Emotions"
3rd International Conference on Music and Emotion, 11 - 15 June 2013, University of Jyväskylä
|2004||Member of the International Ensemble Modern Academy (IEMA), funded by Kunststiftung NRW (Arts Foundation North Rhine-Westphalia)|
|2010-2013||PhD grant, funded by the State Government of Baden-Württemberg|
- Music as a Stimulus
Musical stimuli are active along a juncture between aesthetics and empiricism. For through such stimuli, music as an aesthetic object is brought into an empirical research context in which questions are treated that are in turn of aesthetic ...
- Situated Approaches to the Aesthetic Experience of Music
Over recent years, within the cognitive sciences a number of approaches have been developed that free themselves from the idea of an exclusive location of cognitive processes in the brain. Accordingly, cognition has been conceptualized as ...
- SAMPLE – Situated Aspects of Musical Practice in a Longitudinal Examination
In the last years, research on joint music performance has adopted a situated perspective and challenged traditional cognitivist approaches. The importance of pre-reflective, dynamic, and enacted processes in relation to higher-order processes ...
- SAME – Situated Aspects of Musical Experience
This project addresses the audience in a series of research concerts. With audience members ranging from newcomers to connoisseurs, it investigates the dimensions of their musical experiencing during the concerts by collecting self-reports with ...