Yearbook-Archive: Vol 17 (2004)

Vol 17 (2004): Musikpsychologie – Musikalische Begabung und Expertise / Music Psychology – Musical talent and expertise [*]

Volume 17 was edited by Klaus-Ernst Behne, Günter Kleinen und Helga de la Motte-Haber. Editorial Assistans were Claudia Bullerjahn and Gunter Kreutz.

 

The printed volume was published by Hogrefe in 2004. The rights of use were reacquired by DGM and the contributions were republished here in 2020 as an OpenAccess publication for free, unrestricted use under the CC-BY 4.0 licence.

All contributions are available as searchable PDF files, have a DOI and are searchable in the PubPsych/PSYNDEX database. Contribution titles and abstracts are consistently given in German and English.

Titles and abstracts marked with [*] have been automatically translated from the original language with www.deepl.com.

Research Reports on Thematic Focus

Musikalisches Talent im Lichte der Hochbegabungs- und Expertiseforschung. Theoretische Modelle, Identifikations- und Förderansätze Musical talent in the light of the highly gifted and Research of expertise. Theoretical models, identification and promotion approaches [*]

Kurt A. Heller
Musical gifts or talents denote remarkable abilities in the area of music and can represent very different facets of this domain. While the term gift focuses on the individual ability potential, the term expertise indicates performance excellence in a specific domain, e. g. m usic. Tue research of talent is structured accordingly, i. e. main interest is placed on the development and prognosis of talents. In contrast, expertise research compares experts to novices or laymen in a specific domain (expert- novice-paradigm) in order to retrospectively ascertain social conditions relevant to performance excellence from the perspectives of learning as well as motivational psychology. Here inter-individual talent differences are only assumed to play a minor role. The newer approaches to talent research have begun to strive toward a combination of both paradigms. Therefore, the first section of the paper will describe current theories of giftedness and expertise, with particular consideration being paid to musical talents. Above all one is interested in determining to what degree these models can describe and explain the phenomena of musical talents. The second section of the paper is devoted to new empirical findings in which the problems of identification and promotion of highly gifted children and adolescents are of central importance. Interesting aspects of musical pedagogy include early indicators of musical talent, interest in music, etc. But also of relevance are: musical memory; perfect pitch; the ability to transpose, improvise and compose; the relationship between musical giftedness and creativity and/or intelligence; the relationship between musical giftedness and visual perceptual skills; lateral hypotheses; the „savant syndrome" or „Williams syndrome"; and finally the relationship between musical giftedness in early ages and musical expertise in adulthood. In conclusion, practical approaches to the identification and promotion of talents in the light of giftedness and expertise research will be discussed.

Beliefs of Music Educators and Students Concerning the Major Determinants of Musical Talent Überzeugungen von Musikpädagogen und Musikstudenten bezüglich der wichtigsten Determinanten musikalischer Begabung [*]

Françoys Gagné, Danielle Blanchard
This study explored the lay theories of music educators and students concerning the major determinants of talent emergence. Tue participants (N = 650+ ) completed a forced-choice questionnaire assessing the perceived most and least important causes of the difference in talent between high achieving and just average young musicians. Two distinct situations were proposed: beginners and advanced students. Three results stand out: (a) very large individual differences in terms of the perceived hierarchy of causal factors, which (b) still leave room for clear general trends shared by a majority; (c) these trends appear mostly independent of the talent level or the respondents' characteristics. Musical aptitudes were ranked first, followed by perseverance, practice, interest, and personality traits. Environmental influences ( e. g. , home musical environment, parental support and supervision, music teacher) and chance factors received low rankings. The only significant group differences observed slightly opposed educators and students, and slightly discriminated between the two situations.

Musikalische Begabung aus Sicht der Cultural Studies Musical talent from the perspective of cultural studies [*]

Jan Hemming
Among the central strategies of Cultural Studies is the identification andthe critique of essentialist notions in language, such as the term Begabung. Starting point is an analysis of the usage of this and related terms in academic and also in everyday language. Charting the ,discursive field' around central notion of Begabung helps to develop an alternative view of the history of research on giftedness and talent. lt becomes clear that the traditional (classical) concept of music and the traditional notion of Begabung are reaffirming each other in their system of cultural values. Just as Western, tonal music is found to be most natural, giftedness and talent are considered to be the natural (re-) sources for exactly this kind of music. Based on a Cultural-Studies-critique which can most easily be understood as a continuous reiteration of the question „Begabung - for what?", the term can be unchained from its traditional context. Tue resulting, semantically emptied notion of Begabung serves as a point of departure for a new conception of this term and possible applications in the domain of popular music.

Research Reports

Musikpräferenzen und aggressive Einstellungen in der vierten Grundschulklasse Music preferences and aggressive attitudes in the fourth grade of primary school [*]

Gunter Kreutz, Gabriele Litta
Fifty-seven female and male Fourthgraders between 9 and 10 years of age participated in an empirical study, which included a demographic questionnaire, a music questionnaire, and a psychometric scale of aggressive attitudes (EAS, Petermann & Petermann 2000). Aggressive attitude scores indicated significant gender differences. Male students scored twice as high on average than female students. Low aggressive attitude scores in boys were related with greater liking ratings for some musical styles (Jazz, 20th century classical, Techno) according to regression analysis. A small group children scoring at extreme levels of aggressive attitudes is also characterized by a highly significant preference for fast (popular) music. Relationships between musical activities and aggressive attitudes were only observed with respect to dance. Both female and male children who indicated to dance for at least one hour per week on a regular basis had significantly lower aggression scores than their non-dancing classmates.

Musik nach Maß. Situative und personenspezifische Unterschiede bei der Selektion von Musik Music made to measure. Situational and personal differences in the selection of music [*]

Peter Vorderer, Holger Schramm
Music is an important factor in our everyday lives with individuals selecting music differently. Yet research about music selection is insufficient (Sloboda & O' Neill 2001) . The explorative study described in this article is part of a research project on music selection financed by the German Research Foundation. 150 randomly selected subjects were interviewed via telephone about their music preferences in four situations of specific moods and four situations of specific activities. The results show connections between situational music preferences (according to the iso- or compensation-principle) and individual factors. Especially, in states of sadness/melancholy and rage/anger subjects preferred different types of music, which can be explained by individual factors such as age, sex, education, and music socialization. Tue results illustrate supposed situational music preferences and serve as foundation of hypotheses about real-life situational music selections which could be tested in further experiments.

Von der „Physik der Klangfarben" zur „Psychologie der Klangfarben" From the "physics of timbres" to the "psychology of timbres" [*]

Christoph Reuter
Timbre and associated terminology such as homogeneous (blending) or heterogeneous (non- blending) sounds still belang to an ambiguous and vague field in the science of systematic musicology, which needs acoustical as well as musicpsychological explanation. The formant principle enables a clear acoustic description of solo instrument timbres (together with the changes in the spectrum caused by pitch and dynamic changes, as well as the origin of formants and their behaviour caused by the pulse forming process at the instruments cup, reed(s) or mouth hole). Furthermore, the formant principle provides the necessary tools to the musicpsychologist to investigate the perception of timbre, for example in the field of auditory scene analysis. Based on the knowledge of instrument formants, the here presented principle of partial masking and blending offers an answer to the question, why some instruments playing together in unison arouse the impression of a well separable, heterogeneous, non- blending timbre, whereas other instruments playing together in unison give the impression of an inseparable, homogeneous, blending timbre. Additionally it permits predictions about the homogeneity of the timbre of instruments playing together. These predictions are based on acoustical and musicpsychological reasons and agree very well to the advices given in traditional orchestration treatises. This leads to a new form of formant-based orchestration treatise and a new historical view of the development of musical instruments (Reuter 2002) which is presented in this article.

Die Beeinflussbarkeit emotionalen Erlebens von Musik durch olfaktorische Reize The ability to influence the emotional experience of music through olfactory stimuli [*]

Günther Rötter, Uwe Ligges
During individual experiments, 69 test persons listened to an excerpt from the composition „Hungarian March" by Hector Berlioz. By doing this the phasic skin reactions SRR were measured. Besides a control group, the remaining test persons were exposed to three different odor s, both of the pleasant odors lead to the slightest skin reactions, the control group and an aversive odor lead to strong reactions. Tue changes of skin resistance react to characteristics of music structure, but the physiological data are not correlating with the judgement on the piece.

Close-Up

Duft und Klang: Die immateriellen Installationen von Katja Kölle Scent and sound: The immaterial installations of Katja Kölle [*]

Helga de la Motte-Haber

Spot

musikabbau01

Cornelius Pöpel

Reviews
The contributions in this section are available as a Collective PDF

Philipp Brunner: Profane Leidenschaft. Explorative Studie zur Soziologie des Sammelns am Beispiel von Plattensammlern in Wien

Gunter Kreutz

Claudia Bullerjahn: Grundlagen der Wirkung von Filmmusik

Gunter Kreutz

Claudia Bullerjahn & Hans-Joachim Erwe (Hrsg.): Das Populäre in der Musik des 20. Jahrhunderts. Wesenszüge und Erscheinungsformen

Günter Kleinen

Annette Cramer: Grundlagen und Möglichkeiten der Musik- und Klangtherapie als Behandlungsmaßnahme bei Tinnitus

Eva Mittmann

Peter Desain & Luke Windsor (Eds.): Rhythm perception and production

Reinhard Kopiez

Jürgen Flender: Didaktisches Audio-Design. Musik als instruktionales Gestaltungsmittel in hypermedial basierten Lehr-Lern-Prozessen

Gunter Kreutz

Wilfried Gruhn (Hrsg.): Aspekte musikpädagogischer Forschung

Kathrin Hahn

David J.Hargreaves, Dorothy Miell & Raymond A.R. MacDonald (Eds.): Musical Identities

Renate Müller

Milton D. Heifetz: Sexuality, Curiosity, Fear, and the Arts. Biology of Aesthetics

Gunter Kreutz

Holger Höge: Schriftliche Arbeiten im Studium. Ein Leitfaden zur Abfassung wissenschaftlicher Texte

Lorenz Luyken

Diemut Anna Köhler: Gehörbildung für Absoluthörer. Musikpsychologische Grundlagen und Lehrkonzept

Wolfgang Auhagen

Katharina Müller & Gisa Aschersleben (Hrsg.): Rhythmus. Ein interdisziplinäres Handbuch

Jörg Langner

Renate Müller, Patrick Glogner, Stefanie Rhein & Jens Heim (Hrsg.): Wozu Jugendliche Musik und Medien gebrauchen. Jugendliche Identität und musikalische und mediale Geschmacksbildung

Sabine Vogt

Richard Parncutt & Gary McPherson (Eds.): Tue Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning

Gunter Kreutz

Ulrich Seidler-Brandler: Die Verarbeitung tonaler Information im Arbeitsgedächtnis

Gunter Kreutz

Bob Snyder: Music and Memory: An Introduction

Ulrich Seidler-Brandler

Manfred Spitzer: Musik im Kopf. Hören, Musizieren, Verstehen und Erleben im neuronalen Netzwerk

Wilfried Gruhn

Stefanie Stadler Eimer: Kinder singen Lieder: Über den Prozess der Kultivierung des vokalen Ausdrucks

Günter Kleinen

Nikola Vatterodt: Boygroups und ihre Fans. Annäherung an ein Popphänomen der neunziger Jahre

Sabine Vogt

Reports
The contributions in this section are available as a Collective PDF

Musik im Alltag - Sozialpsychologie der Musik. Jahrestagung der DGM in Hildesheim vom 21. bis 23. September 2001

Marco Kobbenbring

Stimme und Singen - Psychologische Aspekte. Jahrestagung der DGM in Magdeburg vom 27. bis 29. September 2002

Kathrin Hahn & Andreas C. Lehmann

Musikalische Begabung in der Lebenszeitperspektive. Internationale Tagung anlässlich des 10jährigen Bestehens des Instituts für Begabungsforschung und Begabtenförderung (IBFF) an der Universität Paderborn vom 18. bis 19. Oktober 2002

Daina Langner