Das Musikerleben als personaler Gestaltungsprozess.

Autor/in	Allesch, Christian G.
Titel	Das Musikerleben als personaler Gestaltungsprozess.
Quelle	Aus: Behne, Klaus-E. (Hrsg.): Gefühl als Erlebnis - Ausdruck als Sinn. Laaber: Laaber-Verlag (1982) S. 47-66 PDF als Volltext kostenfreie Datei (1); PDF als Volltext kostenfreie Datei (2) Link als defekt meldenVerfügbarkeit
Reihe	Musikpädagogische Forschung. 3
Sprache	deutsch
Dokumenttyp	online; Sammelwerksbeitrag
ISBN	3-921518-73-3
DOI	10.25656/01:24764
URN	urn:nbn:de:0111-pedocs-247642
Schlagwörter	Empirische Untersuchung; Erfahrung; Forschung; Methode; Ausdruck; Experimentelle Psychologie; Persönlichkeit; Psychodynamik; Psychologie; Reaktion (Psy); Reiz; Stimulation (Psy); Subjektivität; Wahrnehmung; Ausdruck; Bedeutung; Erfahrung; Experiment; Experimentelle Psychologie; Forschung; Individuum; Methode; Musik; Musiktherapie; Persönlichkeit; Physiologie; Psychologie; Subjektivität; Theorie; Wahrnehmung; Musikhören; Musikpsychologie; Gestalt; Musikerlebnis; Psychodynamik; Reiz; Ästhetische Wahrnehmung; Experiment; Gestaltungsprozess; Ästhetische Wahrnehmung; Musik; Musikalische Wahrnehmung; Musikerlebnis; Musikhören; Musikpsychologie; Musikpädagogik; Musiktherapie; Physiologie; Bedeutung; Gestalt; Muster; Theorie; Individuum
Abstract	Experimental music-psychology tries to discover correlations between listening to a certain kind of music and certain psychic or vegetative reactions. But these correlations cannot reflect how music really is experienced. The author tries to demonstrate theoretical and methodical problems connected with this fact by discussing some methodical approaches to the experience of music and by reflecting upon the balance between subjective and objective components of individual reactions. The reported results of the author's experiments reveal clearly that individual experience of music is much more determined by subjective psychic and vegetative dynamics of reaction than by general reaction patterns attached to a certain musical stimulus. Furthermore, there are some interesting connexions between the subjective way of experiencing music and the individual repertory of expression as well as the subjective structure of needs and the individual history of the listening person. The author concludes that a psychological theory cannot grasp the phenomenon of subjective experience of music by simple stimulus-response patterns only. On the contrary, the experience of music has to be interpreted as an experience of "meaningful patterns" ("Bedeutungen") in the sense of Jakob von Uexküll's theoretical considerations in the field of perception psychology. In the sense of this considerations, experience of music should not be considered a passive and receptive process, but an individual process of Gestalt-forming, which is determined by personality, and in which the individual is reflected. (DIPF/Orig.).
Erfasst von	DIPF \| Leibniz-Institut für Bildungsforschung und Bildungsinformation, Frankfurt am Main
Update	2023/1