Das neue 'Open Access First' Publikationsmodell des Jahrbuchs Musikpsychologie – Geleitwort der Herausgeber

Auhagen, Wolfgang; Bullerjahn, Claudia; Louven, Christoph

doi:10.5964/jbdgm.2018v28.22

Cited by 2 publications

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“…Hargreaves and Lamont (2017) published another review of this literature which includes some of the German research (e.g., Bunte, 2014;Bunte & Busch, 2015;Kopiez & Lehmann, 2008;Schurig, Busch, & Strauss, 2012, and some of which forms part of an issue of the Jahrbuch der Deutschen Gesellschaft für Musikpsychologie which is devoted to the topic; see Auhagen, Bullerjahn, & Georgi, 2014). Gembris and Schellberg (2003), for example, assessed the likes and dislikes of 591 children between the ages of five and 13 for eight short excerpts from four different styles (classical music, pop music, 20th-century art (avant-garde) music, and ethnic music).…”

Section: The Concept Of 'Open-earedness'mentioning

confidence: 99%

What is ‘open-earedness’, and how can it be measured?

Hargreaves

Bonneville‐Roussy

2017

Musicae Scientiae

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Recent years have seen some fundamental changes in the study of responses to music: the growth of neuroscientific approaches, in particular, is throwing new light on the role of imagination, affect and emotion. One focus has been on the nature of musical preferences in relation to other affective and cognitive judgements, and another has been on the issue of changes in musical preference across the lifespan. One explanatory concept which has proved useful in this respect is that of 'open-earedness', first formulated by Hargreaves in the suggestion that 'younger children may be more "open-eared" to forms of music regarded by adults as unconventional; their responses may show less evidence of acculturation to normative standards of good taste than those of older subjects'. Louven recently published a critique of the ways in which this concept has been operationalized in subsequent research, proposing his own definition. In this paper we take a broad ranging view of 'open-earedness', proposing four different possible definitions, and ways in which these can be operationalized and measured. We use some data from a new test of preferences for musical genres and clips to test some of these operationalizations: the results suggest that the similarities between these four definitions are probably greater than the differences between them, but that they nevertheless provide a richer and more nuanced concept of open-earedness than hitherto.

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Section: The Concept Of 'Open-earedness'mentioning

confidence: 99%

What is ‘open-earedness’, and how can it be measured?

Hargreaves

Bonneville‐Roussy

2017

Musicae Scientiae

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“…Tempo terms may be modified by diminutives (e.g., - etto ), superlatives (e.g., - issimo ), and various qualifiers (e.g., molto ). The speed of this music is impossible to know in any objective sense because it is determined by multiple factors, including context, tradition, subjective taste/mood of the performers, instrumentation, and acoustics (Auhagen, 2017; Grant, 2014; Weber, 1817). There is some disagreement among contemporary scholars and historical treatises, alike, regarding basic tempo terms.…”

Section: Introductionmentioning

confidence: 99%

The Contrast Principle, Typicality, and Cultural Longevity in 19th-Century Symphony Slow Movements: A Corpus Analysis

McDonald

Wöllner

2023

Music & Science

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The notion of contrast is integral to both aesthetic and psychological accounts of attention and interest. It therefore represents a useful heuristic for understanding contrasting slow movements in Western art music. Based on the observation from music theory that within-movement tonal contrast (mode and key) increased during the 19th century, we assumed that a corpus of symphonic slow movements ( n = 246) composed between 1800 and 1913 would exhibit increasing between-movement tonal contrast when compared to a sample of symphonies composed between 1757 and 1795 ( n = 141). Synchronic analysis confirmed that slow movements contrast with their key-defining first movements. Diachronic analysis confirmed that within-symphony tonal contrast increases after 1800. Each of five style parameters observed for era comparison (changes in use of mode, key, meter, form, and structure) conformed to musicologically distinct yet plausible historical boundaries. Cluster analysis of the post-1800 corpus generated three clusters, with mode (non-)match between slow movement and symphony, printed tempo marking, and key relationship (measured by tonal distance) as the three strongest predictors. Since discussions of style naturally raise questions of influence, we also examined the relationship between prototypicality and composer prominence. To that end, analysis of clusters suggests the possibility of multiple, distinct “Beethovenian prototypes.” Finally, we found that, with the exceptions of Beethoven and Brahms, the most statistically typical pieces lack enduring impact, from today's perspective. Conformity to general stylistic norms thus seems to predict against the cultural longevity of a 19th-century symphony.

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Das neue 'Open Access First' Publikationsmodell des Jahrbuchs Musikpsychologie – Geleitwort der Herausgeber

Abstract: Im Geleitwort zur ersten Ausgabe erläutern die Herausgeber die Hintergründe und den Entstehungsprozess des neuen 'Online First' Publikationsmodus des 'Jahrbuchs Musikpsychologie' und stellen die Prinzipien des neuen Modells vor.

Cited by 2 publications

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What is ‘open-earedness’, and how can it be measured?

What is ‘open-earedness’, and how can it be measured?

The Contrast Principle, Typicality, and Cultural Longevity in 19th-Century Symphony Slow Movements: A Corpus Analysis

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