Yearbook Archive: Vol 23 (2013)

Vol 23 (2013): Musikpsychologie – Interdisziplinäre Ansätze / Music Psychology – Interdisciplinary approaches [*]

Volume 23 was edited by Wolfgang Auhagen, Claudia Bullerjahn und Holger Höge. Editorial Assistans were Timo Fischinger, Richard von Georgi, Mirjam James, and Kathrin Schlemmer.


The printed volume was published by Hogrefe in 2013. 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

Research Reports on Thematic Focus

"The Music of Nature"? Zum Verhältnis von Musikpsychologie und Musiktheorie "The Music of Nature"? The relationship between music psychology and music theory [*]

Wolfgang Auhagen
The paper presents a historic review of the relationship between music psychol­ogy and music theory, starting from two different positions: • music as a phenomenon of nature, • music as a human psychologic phenomenon. Treatises on music show that from the 17th century on, rules for composing music related to human perception, thinking, and experience. So, the second position became more and more important. Relating music theory to psychological phe­nomena relied on the concept of an 'idealized' listener because theoretical rules should be of general validity. However, recent experimental research in the psychology of music has shown several discrepancies between theoretic struc­tural concepts and perceived music structure. Accordingly, music theory cannot be founded on perceptual processes completely. Creation in music (improvisa­tion, composition) has not been studied by music psychology in detail despite the fact that music theory was a domain of composers and musicians for a long time. So, especially research in this field seems to be promising for joint projects of music psychology and music theory.

Entwurf eines Forschungsparadigmas für die empirische Erforschung Populärer Musik: Multiple optimierte Passung in den Produktionsketten der Popmusik Design of a research paradigm for the empirical study of popular music: Multiple optimized fit in the production chains of popular music [*]

Andreas C. Lehmann
Research on popular music leads a shadowy existence in music psychology. Reasons for this are manifold, and this deficit clashes with the great societal importance of this music. Criticism by Appen (20 12) spawned the current article in which we argue that the reluctance of music psychologists concerning popu­lar music emerges not from a bias toward classical music but from the lack of appropriate empirical methods in popular music research. The collaborative processes in the making of popular music (e. g., songwriting, studio production, development of stage performances) are challenging for the traditional arsenal of psychological methods. By combining the intra-individual and inter-individ­ual perspectives we could provide new insights into creativity, acquisition of skills, and the development of preferences, which the prevailing cultural studies approach to popular music may not reveal. We suggest that future psychomusi­cological studies of popular music conceptualize this music as a production chain in which popularity is the ultimate result of an iteratively created optimal fit at different stages of the process. This specific fit is generated by individuals on six levels: compositional structure, lyrics, studio production (sound), live per­formance, distribution (including public relations), and the listener. In our opin­ion, this chain can be imagined as a Matryoshka doll: each new layer of the nested doll has to fit smoothly around the previous one and into the next; other­ wise, it is not complete. From such a framework, testable hypotheses and research programs can be derived.

Ästhetik, Kunst und Empirie - Auf der Suche nach Gemeinsamkeiten Aesthetics, art and empiricism - In search of common ground [*]

Holger Höge
At the end of the 19th century aesthetics was established in philosophy as the science of beauty and the arts. However, the misconception was that beauty was looked for at the objects themselves. The basic idea that the comparison of beautiful objects must necessarily lead to the appearance of the phenomenon of beauty has not been successful (distillation theory), the nominalization of beauty has been abandoned. The beautiful object is no longer the center of examination, but the experiencing and judging individual: aesthetics became a field of scientific psychology. That objects are called beautiful is conceived of as a predicate that is not or not only dependent on the object. Aesthetic phe­nomena are not restricted to the fields of music, literature, painting etc. but are also to be found in everyday life, the experience of nature included. Thus a lot of research fields emerged which should be viewed in a nutshell provided that the aim of having one single theory of aesthetic experience is retained. Can this be successful?

Research Reports

Wer klingelt denn da? Theoretische Überlegungen zur gesellschaftlichen und persönlichen Relevanz von Klingeltönen und eine explorative Studie zur Klingeltonselektion Who's that ringing? Theoretical considerations on the social and personal relevance of ringtones and an exploratory study on ringtone selection [*]

Claudia Bullerjahn, Stefan Erbe, Henrik Groß
This article gives an overview of research into the subject ringtones of mobile phones. Essential theoretical insights and previous empirical findings are sum­marized. They concern the technology of ringtones, cultural differences in the use of ringtones, the function of ringtones as part of lifestyle, identity founder, means of distinction, cultural performance and trigger of memory as well as the influence of ringtones on soundscapes through dissolving the boundary between public and private space. In addition an explorative study is presented, which investigates whether there is a correlation between music preference in general and the choice of the personal ringtone. Therefore 135 passers-by of a municipal pedestrian precinct (9-56 years old, 52 female, 83 male) were asked with the aid of a standardized interview instruction. Among other things it comprised the request to play the standard ringtone of their own cell phone. Other questions concerned the general music preference, the reasons for choosing this ringtone and its origin. Correlations between the preferred music genre and the selected ringtone genre became clear. Technology and origin of the ringtone as well as the reasons for choosing ensured a correspondence between ringtone preference and music preference of varied strength. The age of the interviewees also proved to be of importance.

Freude am Singen bei 10- bis 12-Jährigen: Möglichkeiten der musikpädagogischen Einflussnahme Joy of singing in 10 to 12 year olds: Possibilities of influencing music education [*]

Anna Wolf, Lea Wolpert, Reinhard Kopiez
In the following survey, students (n = 142) in grades five and six (age 10 to 12 years) were asked whether they enjoyed singing in general and singing in their high school music classes. This question is essential since a positive attitude to­ wards singing is necessary when considering singing in a choir, for instance. The students reported that in general they enjoy singing and that they agree that singing gets better with practice: it is therefore a learnable skill and not an innate talent. Taking pleasure in singing is dependent on several factors, notably mood regulation and the expression of one's emotions. Furthermore, students who enjoy the songs in music classes and who like their teachers also experience a greater joy in singing. In the fifth and sixth grade, students' attitude towards singing is still positive; however, this can change during the course of puberty (Behne, 2009). By estab­lishing choirs with a repertoire in pop music or by promoting rock bands at schools, music teachers could extend their scope and reach more students. Ad­ditionally, it is worth discussing whether the reduction in required music classes in grades seven and eight, as is the case in Lower Saxony, happens at an unfa­vorable moment, namely when developmental changes occur in the everyday use of music and the singing voice of the students changes profoundly. Regular music lessons with both theoretical components and music making continue to be of major importance to adolescents.

Anreize des Übens und Musizierens bei 15- 16-jährigen Schülern und bei Schulmusikstudierenden und ein erster Vergleich mit 10- 11-jährigen Schülern Incentives for practicing and making music among 15- to 16-year-old pupils and among school music students and a first comparison with 10- to 11-year-old pupils [*]

Barbara Roth
The question which kinds of incentives of musical practice within the groups of music students at university and music school level has not been investigated sufficiently within the field of music psychology and music education. Motiva­tional psychology suggests taking into consideration incentives concerning achievement (making progress in playing the musical instrument), power (outperforming or impressing others) and affiliation (being accepted by the group of those making music). However, incentives could also be found in emotional experiences while practising (e.g. feelings of happiness), in flow-experiences (i.e. being completely absorbed in the activity) as well as in the consequences of practising. Furthermore, the ability to practise in spite of reluctance (i.e. the ability to use volitional control) can constitute an incentive as well. For the construction of a questionnaire the incentives of practising and mak­ing music were supposed to be gathered regarding their diversity and as precisely as possible. lt became apparent that different classes of incentives can be formed. Whereas the values of incentive classes for the 10 to 11-year-old music pupils (n = 39) are significantly higher than those of the 15 to 16-year-old music pupils (n = 44), there are only little differences between the 10 to 11-year-old music pupils and the students of teaching music (n = 44). Likewise, there are only minor differences between 15 to 16-year-old music pupils and students of teaching music concerning the preference of certain incentives. In all subject groups incentives concerning achievement and flow as well as a connection of group loyalty and flow are among the most preferred ones.

In Memoriam
The contributions in this section are available as a Collective PDF

Robert Francès

Holger Höge, Hana Gottesdiener


Die Thereminvox: Instrumente und auditive Wirkung - ein ÜberblickThe Thereminvox: Instruments and auditory effects - an overview [*]

Matthias Sauer


The contributions in this section are available as a Collective PDF

Rolf Bader, Christiane Neuhaus & Ulrich Morgenstern (Eds.): Concepts, Experiments, and Fieldwork: Studies in Systematic Musicology and Ethnomusicology

Kai Lothwesen

Dorothea Baumann: Music and Space. A systematic and historical investigation into the impact of architectural acoustics on performance practice followed by a study of Handel's Messiah

Daniel Muzzulini

Alf Gabrielsson: Strong experiences with music. Music is so much more than just music

Clemens Wöllner

Reinhard Kopiez, Jessika Dressel & Marco Lehmann: Vom Sentographen zur Gänsehautkamera. Entwicklungsgeschichte und Systematik elektronischer Interfaces in der Musikpsychologie

Mats B. Küssner

Andreas C. Lehmann, John A. Sloboda & Robert H. Woody: Psychology for Musicians und Aaron Williamon (Ed.): Musical Excellence: Strategies and techniques to enhance performance

Mirjam James

Johanna Maier-Karius: Beziehungen zwischen musikalischer und kognitiver Entwicklung im Vor- und Grundschulalter

Kai Lothwesen

Gary E. McPherson, Jane W. Davidson & Robert Faulkner: Music in our lives: Rethinking musical ability, development and identity

Flemming Kristensen

Franziska Olbertz: Musikalische Hochbegabung. Frühe Erscheinungsformen und Einflussfaktoren anhand von drei Fallstudien

Anja-Maria Hakim

Barabara Roth: Die Bedeutung von Motivation und Willen für das Üben von Instrumenten. Eine Studie zum musikalischen Lernen von älteren Schülern und Schulmusikstudierenden

Georg Wissner

Thomas Schäfer: Statistik I. Deskriptive und Explorative Datenanalyse und Statistik II. Inferenzstatistik

Johannes Hasselhorn

The contributions in this section are available as a Collective PDF

11th International Conference on Music Perception and Cognition, Seattle (USA), 23.-27. August 2010

Friedrich Platz & Reinhard Kopiez

Gemeinsame Jahrestagung der Deutschen Gesellschaft für Musikpsychologie (DGM) und der Gesellschaft für Musiktheorie (GMTH) in Würzburg vom 7.-10. Oktober 2010

Timo Fischinger

"Driven by Sound" - Zweiter Audio Branding Congress der Audio Branding Academy in Hamburg, 05. November 2010

Hanna Ruf

Jahrestagung der Deutschen Gesellschaft für Musikpsychologie in Osnabrück vom 09.-11. September 2011

Caroline Cohrdes

Jahrestagung des Arbeitskreises musikpädagogische Forschung (AMPF) vom 7.-9. Oktober 2011 in Stuttgart

Florian Hantschel

Populäre Inszenierung/Inszenierung des Populären in der Musik: 22. Arbeitstagung des Arbeitskreises Studium Populärer Musik (ASPM) in Paderborn vom 18.-20. November 2011

Isabell Bötsch

Joint conference 12th International Conference on Music Perception and Cognition (ICMPC) - 8th Triennial and Conference of the European Society for the Cognitive Sciences of Music (ESCOM), Thessaloniki (Griechenland), 23.-28. Juli 2012

Anna Wolf & Silvia Müller