Discrepancies and Disagreements in Classical Chamber Musicians’ Characterisations of a Performance by Neta Spiro, Michael F. Schober

“…To what extent do classical chamber musicians converge in their characterisations of what just happened in their live duo performance, and to what extent do audience members agree with the performers’ characterisations? …”
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The Lived Experiences of Independent Western Classical Chamber Musicians in the United Arab Emirates: A Narrative Inquiry by Mia Martens, Catrien Wentink

“… The research concerns the relationship between Western classical music and Arabian cultures in the United Arab Emirates (UAE) as experienced by independent classical chamber musicians. The main research question was: what stories do independent Western classical chamber musicians tell about their lived experiences of practicing and performing Western classical music in the UAE? …”
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The Interplay Between Chamber Musicians During Two Public Performances of the Same Piece: A Novel Methodology Using the Concept of “Flow” by Eva Bojner Horwitz, Eva Bojner Horwitz, Eva Bojner Horwitz, László Harmat, Walter Osika, Walter Osika, Walter Osika, Töres Theorell, Töres Theorell

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Boccherini’s Workshop: The Quartettini for Friedrich Wilhelm II by Mara Parker

“…During the years 1786-1797, Boccherini enjoyed the patronage of King Friedrich Wilhelm II of Prussia, a skilled cellist and avid chamber musician. Boccherini wrote a number of chamber works for the King, including twenty-nine quartets (G. 213-241). …”
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THE ROMA MUSICIANS OF MAGYARPALATKA AS PRESERVERS OF TRADITIONS by Judit KOMPÁR-RŐMER

“…Following this path, children of musician families learnt the followings at the same time: ability to play an instrument, to be a good chamber musician, correct behaviour in different situations, norm system and their role and place in the community. …”
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Music regulators in two string quartet ensembles: a comparison of communicative behaviours between low- and high-stress performance conditions by Michele Biasutti, Eleonora Concina, David Wasley, Aaron Williamon

“…To understand how these regulators are used by chamber musicians, video recordings of members of two string quartet ensemble performances (Quartet Ensemble A performing Bartók and Quartet Ensemble B performing Haydn) were analysed under two conditions: a low stress performance (LSP), undertaken in a rehearsal setting, and a high stress performance (HSP) during a live concert. …”
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