Music Listening in Classical Concerts: Theory, Literature Review, and Research Program
Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the...
| Main Authors: | , , , , , , , , , |
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| Format: | Article |
| Language: | English |
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Frontiers Media S.A.
2021-04-01
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| Series: | Frontiers in Psychology |
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| Online Access: | https://www.frontiersin.org/articles/10.3389/fpsyg.2021.638783/full |
| _version_ | 1819072360026734592 |
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| author | Melanie Wald-Fuhrmann Hauke Egermann Anna Czepiel Katherine O’Neill Christian Weining Deborah Meier Wolfgang Tschacher Folkert Uhde Jutta Toelle Jutta Toelle Martin Tröndle |
| author_facet | Melanie Wald-Fuhrmann Hauke Egermann Anna Czepiel Katherine O’Neill Christian Weining Deborah Meier Wolfgang Tschacher Folkert Uhde Jutta Toelle Jutta Toelle Martin Tröndle |
| author_sort | Melanie Wald-Fuhrmann |
| collection | DOAJ |
| description | Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. |
| first_indexed | 2024-12-21T17:36:29Z |
| format | Article |
| id | doaj.art-86b187fe922048b6b67749b56765807a |
| institution | Directory Open Access Journal |
| issn | 1664-1078 |
| language | English |
| last_indexed | 2024-12-21T17:36:29Z |
| publishDate | 2021-04-01 |
| publisher | Frontiers Media S.A. |
| record_format | Article |
| series | Frontiers in Psychology |
| spelling | doaj.art-86b187fe922048b6b67749b56765807a2022-12-21T18:55:46ZengFrontiers Media S.A.Frontiers in Psychology1664-10782021-04-011210.3389/fpsyg.2021.638783638783Music Listening in Classical Concerts: Theory, Literature Review, and Research ProgramMelanie Wald-Fuhrmann0Hauke Egermann1Anna Czepiel2Katherine O’Neill3Christian Weining4Deborah Meier5Wolfgang Tschacher6Folkert Uhde7Jutta Toelle8Jutta Toelle9Martin Tröndle10Department of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, GermanyYork Music Psychology Group, University of York, York, United KingdomDepartment of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, GermanyYork Music Psychology Group, University of York, York, United KingdomWÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen, GermanyExperimental Psychology Division, University Hospital for Psychiatry and Psychotherapy, University of Bern, Bern, SwitzerlandExperimental Psychology Division, University Hospital for Psychiatry and Psychotherapy, University of Bern, Bern, SwitzerlandRadialsystem V, Berlin, GermanyDepartment of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, GermanyDepartment of Applied Musicology, Gustav Mahler Private University for Music, Klagenfurt, AustriaWÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen, GermanyPerforming and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.https://www.frontiersin.org/articles/10.3389/fpsyg.2021.638783/fullconcertmusic listeningclassical musicperformanceaesthetic experience |
| spellingShingle | Melanie Wald-Fuhrmann Hauke Egermann Anna Czepiel Katherine O’Neill Christian Weining Deborah Meier Wolfgang Tschacher Folkert Uhde Jutta Toelle Jutta Toelle Martin Tröndle Music Listening in Classical Concerts: Theory, Literature Review, and Research Program Frontiers in Psychology concert music listening classical music performance aesthetic experience |
| title | Music Listening in Classical Concerts: Theory, Literature Review, and Research Program |
| title_full | Music Listening in Classical Concerts: Theory, Literature Review, and Research Program |
| title_fullStr | Music Listening in Classical Concerts: Theory, Literature Review, and Research Program |
| title_full_unstemmed | Music Listening in Classical Concerts: Theory, Literature Review, and Research Program |
| title_short | Music Listening in Classical Concerts: Theory, Literature Review, and Research Program |
| title_sort | music listening in classical concerts theory literature review and research program |
| topic | concert music listening classical music performance aesthetic experience |
| url | https://www.frontiersin.org/articles/10.3389/fpsyg.2021.638783/full |
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