4'33" Das Konzert als performativer Moment

Roselt, Jens

doi:10.14361/transcript.9783839416174.113

Cited by 1 publication

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“…Such experiences have been described in qualitative studies and claimed by theoreticians and advocates of the genre (Heister, 1983;Radbourne et al, 2014;Rebstock, 2020), but not yet quantitatively corroborated. In addition, while the standard form incorporates implicit assumptions about the relationship between its features and the hoped-for experience resulting from them, new and experimental concert formats that have been developed over the past decades can be understood as a form of aesthetic and social critique of the standard format (Brüstle, 2013;Schröder, 2014;Roselt, 2020). Typically, these new forms modify the venue, the forms of listening, but also the relationships between performers and audience members and their respective rituals.…”

Section: The Classical Concert As a Frame For Music Listeningmentioning

confidence: 99%

“…Although the concept of presence in the context of aesthetic experiences is repeatedly discussed in theory (Seel, 2003;Fischer-Lichte, 2004;Gumbrecht, 2004b;Rebstock, 2020;Roselt, 2020), no specific empirical research on it seems to exist, supposedly because of its intangible nature. However, some of the studies mentioned in the above sections include certain components, as the experience of presence can be understood as a sensorial and intense physical experience and is per se part of the aesthetic experience (Gumbrecht, 2003).…”

Section: Effects Of Presence Uniqueness Immediacymentioning

confidence: 99%

“…In essence, series of experiments need to be designed in which individual concert components are manipulated. Inspirations for the components and types of such experimental manipulations should be derived from contemporary (and possibly even historical) concert practices, most importantly from practitioners who critically reflect on the concert (Rebstock, 2020;Roselt, 2020). In such a case, the pieces to be performed as well as the musicians performing them need to remain the same to control for (the largest part of) the acoustic stimulus.…”

Section: Frame Components As Stimulimentioning

confidence: 99%

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Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

et al. 2021

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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.

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Section: The Classical Concert As a Frame For Music Listeningmentioning

confidence: 99%