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The present study addresses antecedents and consequences of collective victimhood in the context of World War I (WWI) across 15 European nations (N = 2423 social science students). Using multilevel analysis, we find evidence that collective victimhood is still present a hundred years after the onset of the war and can be predicted by WWI‐related objective indicators of victimization at national and family levels. This suggests that collective victimhood is partly grounded in the actual experience of WWI. In addition, we show that sense of collective victimhood positively predicts acknowledgment of the suffering inflicted by one's nation on other countries during WWI. This is consistent with a social representation of WWI as involving a vast massacre in which nations were both victim and perpetrator. Finally, we find that objective indicators of victimization predict pacifism in divergent ways, with an indicator at the national level associated with more pacifist attitudes and an indicator at the family level being associated with less pacifist attitudes. This finding suggests that war‐torn societies may have developed social representations favouring peaceful coexistence whereas, at the family level, victimization may still foster retaliatory tendencies.

Background in the psychology of music. The historical development of the psychology of music largely followed that of psychology in general. In the 20th century it adopted the research methods and interests of cognitive psychology and more recently has turned to new interdisciplinary connections with psychobiology and the neurosciences. There remains, however, a certain inadequacy regarding work in the psychology of music and cultural psychology and as well of interpretative research aimed at interpreting the role of music in those processes, processes Bruner called "the nature and cultural shaping of meaning-making, and the central place it plays in human action". Background in historical musicology and cultural anthropology. Historical musicology and cultural anthropology maintain that experiencing and understanding music represents a process fundamentally dependent upon cultural context. This begs the question as to how cultural context influences social and individual representations of music in the sense that a particular "style of aesthetic experience" typifies a historical period. Although this is a genuine psychological question, it cannot be answered by a psychology which is restricted to "ahistorical" explanations of information processing. Thus from a cultural anthropological perspective there is strong interest in any kind of "cultural psychology" which is able to conceptualise the dynamic interactions between culturally determined "social representations" of music and the individual mind. Goals. We argue for a "cultural turn" in the psychology of music. Following developments within psychology, research over recent decades in the psychology of music has concentrated on neuro-cognition while cultural aspects have been underestimated -as they continue to be in psychology in general. Conclusions. An important task for an interdisciplinary framework that wishes to include the cultural sciences and psychology should be to review recent cultural psychological theories to assess their implications for a psychological theory of music. As examples we use Ernst E. Boesch's Symbolic Action Theory which explicitly refers to the role of aesthetic experience in cultural contexts and Alfred Lang's "semiotic ecology" which provides an appropriate model for conceptualising the complex relations between the development of cultural patterns and the development of related individual representations.

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The present study examines current social representations associated with the origins of the Great War, a major event that has profoundly affected Europe. A survey conducted in 20 European countries (N = 1906 students in social sciences) shows a high consensus: The outbreak of the war is attributed to the warring nations’ leaders while the responsibility of the populations is minimized. Building on the concept of social representation of history (Liu & Hilton, 2005), we suggest that the social representations of the Great War fulfill social psychological functions in contemporary Europe. We suggest that WWI may function as a charter for European integration. Their content also suggests a desire to distinguish a positively valued ingroup ("the people") from powerful elites, construed as an outgroup.