Music psychology

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Music psychology is a branch of musicology that is dedicated to the study of music, its perception, experience and understanding using psychological methods. It has developed from a sub-area of systematic musicology to an independent specialist discipline which - like general psychology - uses different methods and can be subdivided into further sub-areas.

The scientific activities in this area are coordinated by national and transnational specialist societies. In German-speaking countries, the subject is represented by the German Society for Music Psychology (DGM), founded in 1983, and in English-speaking countries by the Society for Education, Music and Psychology Research (Semper) , the Society for Music Perception and Cognition (SMPC) and Australian Music Psychology Society (AMPS). At the European level, the European Society for the Cognitive Sciences of Music (ESCOM) was founded in 1991 .

Subjects of the subject are the perception of music , musical socialization , the possibility of understanding music as well as music production as composition , interpretation and improvisation . As applied music psychology, the discipline makes an important contribution to the care of musicians , which includes aspects such as dealing with stress and stage fright , mental training , concentration practice , performance coaching and stage performance.

Music psychology borders on the fields of musical acoustics , music aesthetics , music sociology , music education and music therapy .

history

From the beginning of human development, music and dance have also served as elementary expression, psychological relief and the evocation of certain emotions. Even in ancient times, philosophers and scientists thought about the effects of music - the ancient doctor Herophilos of Chalcedon, for example, took measurements on the relationship between the human pulse and music. In Greek music theory , certain emotions were assigned to the different keys, which determined the way of composing. In the Renaissance and later in the Baroque , the view continued that music had an effect on the listener, which resulted in a highly differentiated theory of figures . Because of the writing he left behind who is musical? The surgeon, musician and Billroth biographer Ernst Kern describes the surgeon Theodor Billroth , who himself was an excellent piano player and was a close friend of Johannes Brahms , as the “founder of music psychology”.

The term music psychology in German-speaking countries goes back to Ernst Kurth , who used it in his book of the same name from 1931 to distinguish it from Carl Stumpf's sound psychology . With him began a phase of music psychology, which was shaped by Gestalt psychology with Albert Wellek , Christian von Ehrenfels and the Würzburg School and, in addition to experimental investigations, emphasized the importance of introspection for researching musical phenomena. Her focus was on the perception of music with the attempt to represent universal laws in hearing, including the phenomena of perfect pitch and synesthesia . In the English-language literature, Carl E. Seashore took up the term, which with his book Psychology of Music from 1938 for the first time also included questions of musical talent and performance practice in the new subject. At the same time, there was also an interest in music psychological issues within psychoanalysis , which was initially reflected in individual essays from 1910 onwards.

In the 1970s, the first compilations on musical behavior and experience appeared in German-speaking countries, which were characterized by holistic thinking . With the cognitive turn in behavioristic psychology , since the 1980s, there has been an increase in research based on the paradigm of cognitivism , which is reflected both in the research methods and in the greater involvement of the question of musical learning. This created a closer connection to music pedagogy, as an interdisciplinary connection to music medicine was established through the neuropsychological research approaches.

Music psychology has found concrete application since the 1970s due to the easier availability of music through the technical media and related questions about the direct influence of people by music for commercial purposes. Music in advertising , in public space, in film and video clips , for relaxation or activation have been the subject of numerous studies , sometimes with the specific objective of manipulative usability.

Music perception

A basic area of ​​music psychology deals with the perception of music, its psychoacoustic , physiological, psychological and neuroscientific requirements.

Musical talent

The question of what musical talent is, how it can be measured and whether and how it can be promoted, is a topic at the intersection of music psychology and music education, which has been scientifically investigated for about a hundred years. Today it is placed in the broader context of musical development. While the focus of research and funding was initially on people of younger age, the question of how musical talent develops in old age also arises in connection with music geragogy .

Test procedure

Since the beginning of the 20th century, scientifically based tests on musicality have been developed within the framework of musical talent research. A relatively well-known example is the "Musical Aptitude Profile" test by Edwin E. Gordon from 1965. The relatively complex test is divided into the following three areas: Tonal imagination ( melody and harmony ), Rhythmic imagination ( tempo and meter ) and finally the musical judgment ( phrasing , balance, style ).

Another well-known test for "musical talent in children and their measurability" (book and record) was published by Arnold Bentley in 1966. Bentley's Musicality Test is a group test designed to be used by teachers in practical school work with children aged seven to fourteen. Components such as the ability to distinguish between pitch, tone and rhythm memory, and the ability to analyze or determine chords , should be able to be determined with this test by Bentley.

A relatively current test for measuring musicality (in children) is the “Vienna Test for Musicality” from 2004 by Vanecek / Preusche / Längle. According to the publisher, this is the world's first computer-based musical aptitude test for children of preschool and elementary school age. It is divided into two areas: the so-called "Längle test" for measuring pitch differentiation and the "Viennese waltz test" for measuring the detection of rhythmic shifts within a bar .

Musical preferences

Another research focus is on questions of musical preferences and taste in music, especially with regard to music reception. They were examined with regard to different age groups and cohorts (children, adolescents, old people) as well as with regard to the dependence on social class, education and belonging to social groups. Their areas of application include a. in the selection of the music programs of radio stations and in the field of music education and music geragogy.

When researching musical preferences, structured interviews, surveys, sometimes with allusions to musical examples, correlative statistical procedures and cluster analyzes are used methodically .

Musical personality

Based on personality psychology or character studies, research on the personality of a musician investigates enduring, differentiating characteristics of musicians, individually or comparatively in the sense of typification. Most of the research is focused on professional musicians, both composers and performing musicians. Enduring dispositions are opposed to the situational identity. In a differentiating way, the question is investigated whether different musician professions can be assigned to certain character traits or whether these are produced, as is often expressed in musician jokes about the type of brass player, violist or drummer. Was examined z. B. the special psychological relationship between musician and his instrument.

Questions of performance, social behavior, gender, neuroticism , susceptibility to disease and self-concept are touched on . Areas of application are e.g. B. the personality-specific handling of stress and stage fright as well as in the transition to musician's medicine also the questions of susceptibility to illness depending on personality and occupational stress.

Individual studies focus on the description and analysis of the personality of individual outstanding musical personalities, some of which overlap with the musical biography and the field of historical musicology .

Depth psychology

Depth psychological approaches in music psychology deal with questions of musical life and behavior, including unconscious processes and against the background of their respective basic assumptions, such as those of gestalt psychology, morphological psychology and psychoanalysis.

In psychoanalysis, in addition to the early drive psychological approaches since the 1950s, Heinz Kohut's essays on the enjoyment of music from 1950 and on the psychological functions of music from 1957 and Theodor Reik (1953), above all, the further developments of the psychoanalytic discourse in the understanding and interpretation of music Operations to train, such as u. a. the ego psychology and self and object relations theories , the French school of Jacques Lacan and the tiefenhermeneutische approach Alfred Lorenzer . and the analytical psychology according to Carl Gustav Jung .

Special themes are devoted to the meaning of the film music from a psychoanalytic perspective or to interpret individual works.

literature

Web links

Individual evidence

  1. ^ Society for Education, Music and Psychology Research (Semper) . Retrieved May 21, 2019.
  2. ^ Society for Music Perception and Cognition (SMPC) . Accessed May 31, 2019.
  3. ^ Australian Music Psychology Society . Accessed May 31, 2019.
  4. ^ European Society for the Cognitive Sciences of Music (ESCOM) . Accessed May 31, 2019.
  5. ↑ Helmut Rösing :  Music Psychology. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, factual part, volume 6 (Meißen - Musique concrete). Bärenreiter / Metzler, Kassel et al. 1997, ISBN 3-7618-1107-1  ( online edition , subscription required for full access) (1st history of music psychology)
  6. ↑ Ernst Kern: Seeing - Thinking - Acting of a surgeon in the 20th century. ecomed, Landsberg am Lech 2000, ISBN 3-609-20149-5 , p. 40.
  7. ↑ Ernst Kurth: Music Psychology. Krompholz, Bern 1931.
  8. ↑ Helga de la Motte-Haber, Günther Rötter (ed.): Music Psychology . (= Handbook of Systematic Musicology. Volume 3). Laaber-Verlag, Laaber 2005, pp. 23-26.
  9. ^ Albert Wellek: Music Psychology and Music Aesthetics. Outline of the systematic musicology. 1963.
  10. ^ Carl E. Seashore: Psychology of Music. Dover Publications, New York 1969, ISBN 0-486-21851-1 .
  11. ↑ Bernd Oberhoff: Psychoanalysis and Music. An inventory. Psychosocial, Giessen 2002, ISBN 3-89806-145-0 .
  12. ↑ Helga de la Motte-Haber: Music Psychology. Hans Gerig, Cologne 1972.
  13. ^ Günther Kleinen: On the psychology of musical behavior. Diesterweg, Frankfurt am Main 1974.
  14. ↑ Helga de la Motte-Haber, Günther Rötter (ed.): Music Psychology . (= Handbook of Systematic Musicology. Volume 3). Laaber-Verlag, Laaber 2005, p. 29f.
  15. ^ William Forde Thompson (Ed.): Music in the Social and Behavioral Sciences. An Encyclopedia.Publications, New York 2014, ISBN 978-1-4522-8303-6 .
  16. ↑ Günther Rötter (Ed.) Handbook of Functional Music. Psychology - technology - areas of application . Springer, Wiesbaden 2017, ISBN 978-3-658-10219-7 .
  17. ↑ Klaus-Ernst Behne , Günther Kleinen, Helga de la Motte-Haber (eds.) Musical talent and expertise. In: Yearbook of the German Society for Music Psychology. Volume 17, Hogrefe-Verlag, Bern 2004.
  18. ↑ Heiner Gembris : Basics of musical talent and development. Wißner-Verlag, Augsburg 2017, ISBN 978-3-95786-113-9 .
  19. ↑ Heiner Gembris (Ed.) Talent Promotion and Talent Research in Music (= writings of the Institute for Talent Research in Music; IBFM ). Lit-Verlag, Münster 2010, ISBN 978-3-643-10867-8 .
  20. ↑ Heiner Gembris (Ed.): Musical talent and age (s). Lit-Verlag, Münster 2014, ISBN 978-3-643-12867-6 .
  21. ↑ Miriam Lüken: History and status of musical talent research . ( Memento from January 15, 2010 in the Internet Archive )
  22. ↑ Clemens Renner: Who is musical? (PDF; 639 kB).
  23. ^ Arnold Bentley (translated and set up for use in German-speaking countries by Richard Jakoby): Musical talent in children and their measurability. (= Series of publications on music education ). 2nd Edition. Diesterweg, Frankfurt am Main et al. 1973, ISBN 3-425-03741-2 .
  24. ^ Vienna test for musicality in the Hogrefe publishing house.
  25. ↑ Klaus-Ernst Behne: Listener typologies - On the psychology of youthful musical tastes . (= Perspectives on music education and musicology. Volume 10). Gustav Bosse Verlag, Regensburg 1986, ISBN 3-7649-2324-5 .
  26. ^ Klaus-Ernst Behne: Musician life in adolescence. A longitudinal study . Con Brio Verlag, Regensburg 2009, ISBN 978-3-932581-96-0 .
  27. ↑ Dorothea Muthesius: Music experiences in the life course of old people: a metaphor of social self-localization. Lit-Verlag, Münster 2002, ISBN 3-8258-6403-0 .
  28. ^ Herbert Bruhn, Helmut Rösing :  Musikpsychologie. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, factual part, volume 6 (Meißen - Musique concrete). Bärenreiter / Metzler, Kassel et al. 1997, ISBN 3-7618-1107-1  ( online edition , subscription required for full access) (2nd methods)
  29. ↑ Karin Nohr : The musician and his instrument. Studies on a special form of relatedness. Psychosozial-Verlag, Giessen 2010, ISBN 978-3-8379-2032-1 .
  30. ↑ Klaus-Ernst Behne, Günther Kleinen, Helga de la Motte-Haber (ed.): The musician personality. In: Yearbook of the German Society for Music Psychology. Volume 15, Hogrefe-Verlag, Bern 2002.
  31. ↑ Helga de la Motte-Haber: The musical personality. Character traits - performance and stage fright - self-concept. In: Helga de la Motte-Haber, Günther Rötter (Ed.): Music Psychology. Handbook of Systematic Musicology. Volume 3. Laaber-Verlag, Laaber 2005, pp. 515-551.
  32. ↑ Isabell Frohne-Hagemann (Ed.): Receptive music therapy. Theory and practice. Reichert-Verlag. Wiesbaden 2004, ISBN 3-89500-389-1 -.
  33. ↑ Eckhard Weymann : nuances. Psychological research on musical improvisation. Psychosozial-Verlag, Giessen 2004, ISBN 3-89806-370-4 .
  34. ↑ Rosemarie Tüpker , Armin Schulte (ed.): Tonwelten: Music between art and everyday life. On the psycho-logic of musical events. Psychosozial-Verlag, Giessen 2006, ISBN 3-89806-466-2 .
  35. ↑ Heinz Kohut, Siegmund Levarie: About the enjoyment of music. (1950). In: Bernd Oberhoff: Psychoanalysis and Music. An inventory. Psychosozial, Giessen 2002, pp. 105–126.
  36. ↑ Heinz Kohut: Considerations on the psychological functions of music. (1957). In: Bernd Oberhoff: Psychoanalysis and Music. An inventory. Psychosozial, Giessen 2002, pp. 169–188.
  37. ^ Theodor Reik: The Haunting Melody: Psychoanalytic Experiences in Life and Music. Farrar, Straus & Young, 1953.
  38. ↑ Stuart Feder, Richard L. Karmel, George H. Pollock (Eds.): Psychoanalytic Explorations in Music. Second series. International Universities Press, Madison 1993, ISBN 0-8236-4408-1 .
  39. ↑ Bernd Oberhoff (ed.): The unconscious in music. Psychosozial-Verlag, Giessen 2002, ISBN 3-89806-180-9 .
  40. ↑ Bernd Oberhoff (ed.): Music as a beloved. For the self-object function of music. Psychosozial-Verlag, Giessen 2003, ISBN 3-89806-268-6 .
  41. ↑ Bernd Oberhoff (ed.): The spiritual roots of music. Psychoanalytic explorations. Psychosozial-Verlag, Giessen 2016, ISBN 978-3-89806-280-0 .
  42. ↑ Sebastian Leikert: The Orpheus myth and the psychoanalysis of music. Psychosozial-Verlag, Giessen 2005, ISBN 3-89806-476-X .
  43. ↑ Johannes Picht (Ed.): Music and psychoanalysis hear from each other. Volume 1, Psychosozial-Verlag, Giessen 2015, ISBN 978-3-8379-2256-1 .
  44. ↑ Johannes Picht (Ed.): Music and psychoanalysis hear from each other. Volume 2, Psychosozial-Verlag, Giessen 2015, ISBN 978-3-8379-2332-2 .
  45. ↑ Jörg Rasche: The song of the green lion. Music as a mirror of the soul. Psychosozial-Verlag, Giessen 2014, ISBN 978-3-8379-2333-9 .
  46. ↑ Konrad Heiland, Theo Piegler (ed.): The soundtrack of our dreams. Film music and psychoanalysis. Psychosozial-Verlag, Giessen 2013, ISBN 978-3-8379-2295-0 .
  47. ^ Mathias Hirsch: The St. Matthew Passion by Johann Sebastian Bach. A psychoanalytic music guide. Psychosozial-Verlag, Giessen 2008, ISBN 978-3-89806-755-3 .
  48. ↑ Bernd Oberhoff: Wolfgang A. Mozart: The Magic Flute. A psychoanalytic opera guide. Psychosozial-Verlag, Giessen 2015, ISBN 978-3-8379-2696-5 .