Europe

Hewett, I.

doi:10.1017/9781782045359.013

Cited by 2 publications

(1 citation statement)

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“…A classical concert, which is the highly ritualized product of social conventions and stylistic development of Western music (Heister, 1983; Hewett, 2017), contains several relevant frame components. These include the programming (deliberately choosing popular/famous works from the classical canon and perhaps a less well-known piece; Gilmore, 1993; Weber, 2003), the multimodal nature of the event (one cannot only hear the music live, but also watch the musicians creating it in the moment), and the setting aimed at affording an undisturbed, attentive, even absorbed mode of listening (created by the typical concert-hall layout with seats facing a lit stage, optimal acoustics, and learned behavioral regimes that call for silent and still listening; Heister, 1983; Seibert et al, 2020; Small, 1998; Thorau & Ziemer, 2019).…”

Section: The Concert Frame: Attentive Listening In a Set Coursementioning

confidence: 99%

The aesthetic experience of live concerts: Self-reports and psychophysiology.

Merrill¹,

Czepiel²,

Fink³

et al. 2023

Psychology of Aesthetics, Creativity, and the Arts

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All experimental procedures were approved by the Ethics Council of the Max Planck Society, and were undertaken with written informed consent of each participant. The data supporting the findings of this study are available from the corresponding author upon request. We declare that there are no conflicts of interest. We wish to thank Alexander Lindau, Patrick Ulrich and Eike Walkenhorst for help in organizing and implementing the concerts, Mathias Scharinger and Cornelius Abel for help with data preprocessing, Alessandro Tavano for data quality checks, Helen Singer for annotating the musical beats in the music recordings, and Thijs Vroegh and Elke Lange for the use of their absorption questionnaire. We thank Martin Tröndle and Folkert Uhde for preliminary ideas for this research project and the concert program. We thank Claudia Lehr and Freya Materne for organizing the invitations of the participants, and finally, thanks to the many assistants during data collection, particularly Till Gerneth, Sandro Wiesmann, Nancy Schön, and Simone Franz.

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Section: The Concert Frame: Attentive Listening In a Set Coursementioning

confidence: 99%

The aesthetic experience of live concerts: Self-reports and psychophysiology.

Merrill¹,

Czepiel²,

Fink³

et al. 2023

Psychology of Aesthetics, Creativity, and the Arts

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Ethnicize and Historicize: Thoughts on Anti-Racist Pedagogy and Post-Secondary Music History

Walker

2023

MUSICultures

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<p>The “unmarked whiteness” at the core of most Canadian and US university music programs is an example of racist policy. Anti-racist actions that identify, describe, and dismantle racism can be productively applied to music history courses by adopting strategies outlined in the work of Kyoko Kishimoto. By exploring knowledge production through the historiography of canonic music, challenging Eurocentrism by teaching Western music as “ethnic,” and dismantling the division of white and non-white musics into different disciplines, this article offers an approach to musicultural anti-racism.</p>

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Europe

Cited by 2 publications

References 0 publications

The aesthetic experience of live concerts: Self-reports and psychophysiology.

The aesthetic experience of live concerts: Self-reports and psychophysiology.

Ethnicize and Historicize: Thoughts on Anti-Racist Pedagogy and Post-Secondary Music History

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