Music in European Thought 1851-1912

Bujic, Bojan

doi:10.2307/432006

Cited by 3 publications

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“…Consistent with the exponential rise in performance opportunities for 19th-century violinists, string players enjoy significantly more opportunities to perform in public master classes. Singers appear to belong to a more culturally exclusionist community of practice, preserving strong socially embedded idiomatic boundaries that may suggest anxiety about purity of cultural sub-types (Bujić, 1988). Therefore this research raises interesting social, cultural and historical questions about students' attitudes and their ways of thinking with regard to public master classes in particular.…”

Section: Inclusionist and Exclusionist Attitudesmentioning

confidence: 94%

Blast from the past: Conservatoire students’ experiences and perceptions of public master classes

et al. 2012

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It has been said that participation in master classes provides an initiation into a community of practice (Hanken, 2008;Creech et al., 2009) and that contemporary practices in higher music education are strongly informed by those of the past (Froehlich, 2002, cf. Heikinheimo, 2009. This is certainly true of public master classes which provide students with the opportunity to perform in public and to receive feedback on their performance from a high-profile master musician. In terms of expertise, the master musician is perceived to possess an exceptional blend of musical knowledge derived first from rigorous training in the values and methods of a particular tradition (or traditions) of musical performance, and second from their own career as a high-profile performer. In this study we investigated conservatoire students' experiences and perceptions of public master classes as articulated through the instrument they study, their gender and year in college. The findings revealed a significant main effect for the instrument studied and a statistically significant interaction effect between instrument studied, gender and year at college. The findings suggested that perspectives on the concept of musical excellence were articulated through gender. Further, having examined students' performing and listening experiences and perceptions of public master classes, we concluded that these were to some extent determined by Article at Karolinska Institutets Universitetsbibliotek on May 30, 2015 msx.sagepub.com Downloaded from Long et al. 287intrinsically exclusive or inclusive attitudes towards music, originating in the eighteenth and nineteenth centuries respectively. We discuss these mechanisms in terms of implicit transmission during years of training in the students' principal instrument of study.

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Section: Inclusionist and Exclusionist Attitudesmentioning

confidence: 94%

Blast from the past: Conservatoire students’ experiences and perceptions of public master classes

et al. 2012

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“…This idea was discussed by musicologists and philosophers (Bujić, 1988) and often tied to speculation about the origins of music, in large part through the writings of three British scholars: philosopher Herbert Spencer (1820Spencer ( -1903, naturalist Charles Darwin (1809-1882), and psychologist Edmund Gurney (1847Gurney ( -1888. Spencer (1857Spencer ( , 1890Spencer ( , 1891 argued that music evolved from speech, specifically from emotional speech.…”

Section: Music As An Expression Of Emotionmentioning

confidence: 99%

Music, neurology, and psychology in the nineteenth century

Graziano¹,

Johnson²

2015

Progress in Brain Research

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This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how music is processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processing can be linked to the start of Gestalt psychology. Neurologists such as August Knoblauch also discussed multiple levels of music processing, basing speculation on ideas about language processing. Knoblauch and others attempted to localize music function in the brain. Other neurologists, such as John Hughlings Jackson, discussed a dissociation between music as an emotional system and language as an intellectual system. Richard Wallaschek seems to have been the only one from the late-nineteenth century to synthesize ideas from musicology, psychology, and neurology. He used ideas from psychology to explain music processing and audience reactions and also used case studies from neurology to support arguments about the nature of music. Understanding the history of this research sheds light on the development of all three disciplines-musicology, neurology, and psychology.

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“…He argued that music is an expression of emotions, while speech is an expression of the intellect. Although the idea that music is an expression of emotion was not a new concept (Bujić, 1988;Kivy, 2002), Wallaschek approached the topic from a different perspective, drawing from theories about the origins of music and examples of patients from neurology.…”

Section: Music Production: Music As An Expression Of Emotionmentioning

confidence: 99%

Richard Wallasche's Nineteenth-Century Contributions to the Psychology of Music

Graziano¹,

Johnson²

2006

Music Perception

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Richard Wallaschek's (1860 1917) is most widely known for his contributions to comparative musicology; however, he also made significant contributions to the field of music psychology. From 1890 to 1895, Wallaschek pursued interdisciplinary studies at the British Museum in London. During this time Wallaschek proposed theories about the perception and production of music. According to Wallaschek, the perception of music occurs through two types of mental representation: Tonvorstellung (tone representation), which referred to the perception of individual musical elements, and Musikvorstellung (music representation), which referred to the perception of t he higher-order structure of music. Wallaschek emphasized Gestalt-like concepts in his discussion of Musikvorstellung. He also proposed a theory about the production of music, arguing that music and language involve different brain processes. For Wallaschek, music is an expression of emotion while language is an expression of the intellect. Although not widely recognized, Wallaschek was an early contributor to the field of music psychology.

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Music in European Thought 1851-1912

Cited by 3 publications

References 0 publications

Blast from the past: Conservatoire students’ experiences and perceptions of public master classes

Blast from the past: Conservatoire students’ experiences and perceptions of public master classes

Music, neurology, and psychology in the nineteenth century

Richard Wallasche's Nineteenth-Century Contributions to the Psychology of Music

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