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Handbuch Mus K- Psycholog E See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/322339257 Ursprünge der Musik Chapter · January 2018 CITATIONS READS 0 71 1 author: Reinhard Kopiez Hochschule für Musik, Theater und Medien Hannover 134 PUBLICATIONS 2,025 CITATIONS SEE PROFILE Some of the authors of this publication are also working on these related projects: Neuromyths in Music Education View project Performance Research View project All content following this page was uploaded by Reinhard Kopiez on 06 August 2018. The user has requested enhancement of the downloaded file. De Muskpsychologe st en fasznerendes Gebet an der Schnttstelle von Psychologe, Muskwssenschaft und Musk pädagogk. Ihre Fragestellungen beschäftgen sch (Hrsg.) bespels wese mt dem Hörverhalten, dem Muszeren und Vermtteln von Musk, der muskalschen Begabung, dem Muskgeschmack oder dem kulturellen Muskgebrauch. Im Handbuch der Muskpsychologe wdmen sch über aus- gewesene Autornnen und Autoren aus den Dszplnen der Psychologe, Muskpädagogk, Muskwssenschaft, Medzn, Neurowssenschaft und Musktherape desen Themen und führen n de neuesten Erkenntnsse hrer Fachgebete en. Lehmann / Kopiez Kopiez / Lehmann Aus dem Inhalt: • Muskkultur und muskalsche Sozalsaton • Muskalsche Entwcklung • Musk und Meden • Muszeren • Grundlagen der Muskwahrnehmung • Emotonale und andere Wrkungen • Forschung Andreas Lehmann Handbuch Reinhard Kopiez (Hrsg.) Mus k- Handbuch psycholog e Hogrefe Verlagsgruppe ISBN 978-3-456-85591-2 Musikpsychologie Göttingen · Bern · Wien · Oxford Boston · Paris · Amsterdam · Prag Florenz · Kopenhagen · Stockholm Helsinki · São Paulo · Madrid · Lissabon www.hogrefe.com HOG_9783456855912_Lehmann_Musikpsychologie.indd 1 05.10.17 09:12 5 Prof. Dr. Andreas C. Lebmann Prof. Dr. Reinhard Kopiez Inhaltsverzeichnis Hochschule für Musik Würzburg Hochschule für Musik, Theater und Medien Hofstallstraße 6-8 Hannover 97070 Würzburg Emmichplatz 1 Deutschland 30175 Hannover E-Mail: ac [email protected] Deutschl and E-Mail: [email protected] Vorwort 9 Musikkultur und musikalische Soziali sation 13 Geschützte Warennamen (Warenzeichen) werden nicht besonders kenntlich gemacht. Aus 1.1 Musika li sche Lebenswelten und Ku lturelle Teilhabe dem Fehlen eines solchen Hinweises kann also nicht geschlossen werden, dass es sich um Veronika Busch & Andreas Lehmann-.Wermser einen freien Warennamen handelt. 13 1. 2 Ursprünge der Musik Bibliografische Information der Deutschen Nationalbibliothel{ . Christion Lehmann & Reinhard Kopiez 41 Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Natio­ 1.3 Vom Anfänger zum Experten: Lernen, Übung und Motivation nalbibliografie; detaillierte bibliografische Daten sind im Internet über http://www.dnb.de Friedrich Platz & Andreas C. Lehmann 63 abrufbar. 1.4 Musikali sc he Fertigkeiten und ih re Messbarkeit Dieses Werk einschließlich all er sein er Teile ist urheberrechtlich geschützt. Jede Verwertung Oaniel Müllensiefen & Jan Hemming 93 außerhalb der engen Grenzen des Urheberrechtes ist ohne Zustimmung des Verlages unzu­ lässig und strafbar. Das gil t insbesondere für Kopien und Vervielfä ltigungen zu Lehr- und 2 Musikalische Entwicklung 121 Unterrichtszwecken, Übersetzungen, Mikroverfil mungen sowie die Einspeicherung und Ver­ 2.1 Frühe musikali sche Entwicklung Pränatal bis Kindergarten arbeitung in elekti·onischen Systemen. Stephan Sollot 121 Anregungen und Zuschriften bitte an: 2.2 Entwicklung musikali scher Fäh igkeiten: Kin dergarten und Hogrefe AG Grundschule Lektorat Psychologie Franziska Dege & lngo Roden 151 Länggass-Strasse 76 2.3 Entwicklung musika lischer Fäh igke iten: We iterführende Schule, 3000 Bern 9 Schweiz Beruf und Stud iu m Tel: +41 31 300 45 00 Andreas Heye & Jens Knigge 181 E-Ma il : [email protected] 2.4 Musika li sche Entwicklung: Das Erwachsenenalter Internet: http:/ /www.hogrefe.ch Hein er Gembris 217 Lektorat: Dr. Susanne Lauri Bearbeitung: Edeltraud Schönfeldt, Berlin 3 Musik und Medien 247 Herstellung: Daniel Berger 3.1 Musik im Alltag: Wirkungen, Fun ktionen und Präferenzen Druckvorstufe: punktgenau GmbH, Bühl Thomas Schäfer & Peter Sedlmeier 247 Umschlagabbildung: © Von Blend Images - John Lund/Drew Kelly, gettyimages 3.2 Musik im aud iov isuellen Kontext: Film, Fernsehen, Video(spiel) Umschlag: Claude Barer, Riehen Cloudia Bullerjahn & Florion Hantschel 273 Druck und buchbinderische Verarbeitung: Finidr s.r.o., Cesky Tesin Printed in Czech Republic 3.3 Musik und Medien im aud it iven Kontext: Rad io, Tonträger, mobile Endgeräte und das Internet 1. Auflage 2018 Thomas Münch 29 1 © 2018 Hogrefe Verlag, Bern 4 Musikleben 311 (E-Book-ISBN_ PDF 978-3-456-95591-9) ISBN 978-3-456-85591-2 4.1 Musikali sche Interpretation und Reproduktion http:/!doi.org/10.1024/85591-000 Reinhard Kopiez & Giemens Wöllner 311 6 Inhaltsverzeichnis Inhaltsverzeichnis 7 4.2 Komposition und Im provisation 7 Forschung 747 Kai Stefan Lothwesen & Andreas C. Lehmann 341 7.1 Kurze Geschichte der Musikpsychologie 4.3 Auswendig, nach Ge hör und vom Blatt spielen Thomas H. Stoffer 747 Andreas C. Lehmann & Reinhard Kopiez 367 7.2 Musikpsychologie als Disziplin 4.4 Assessment, Bewertung und Musikkritik Reinhard Kopiez & Andreas C. Lehmann 765 Johannes Hasse/horn & Anno Wolf 389 4.5 Musikphysiologie und Musikermedizi n Über die Autorinnen und Autoren 775 Maria Schuppert & Eckart Altenmüller 411 4.6 Die Musikerpersönlichkeit Sachwortregister 781 Günther Rätter & Reinhard Steinberg 435 5 Grundlagen der Musikwahrnehmung 461 5.1 Neurowissenschaftliche Grundlagen der Musikverarbeitung Stefan Koelsch & Erich Schräger 461 5.2 Psychoakustische Grundlage n des Musikhörens Christoph Louven & Michael Oehler 483 5.3 Gruppierung, Ordnung un d Ähn li chkeit in der Mu sik Klaus Frieler 513 5.4 Musika lisches Entrainment: Rhythmus- Microtiming- Swing- Groove Olivier Senn & Reinhard Kopiez 543 5.5 Am usien - Störungen der Musikverarbeitung Eckart Altenmüller & Maria Schuppert 569 5.6 Al ltagsphänomene un d Sonderleistungen bei der Musikwahrnehmung: Absolutes Hören, Ohrwürmer und Sy nästhesie Kathrin Schlemmer & Jan Hemming 589 6 Wirkungen 617 6.1 Emotionen und ästhetische Gefühle Hauke Egermann & Gunter Kreutz 617 6.2 Musikhören, Sin gen, Tanzen und Musizieren: Beiträge zu m Wohlbefind en Gunter Kreutz & Richard von Georgi 641 6.3 Musik und veränderte Bewusst se in szustände Järg Fachner 663 6.4 Mu siktherapie: Prax isfelder und Vorgehen swe ise n Christine Plahl 689 6.5 Mythen und Legenden zur Wirkung von Musik Christoph Reuter & Järg Mühthans 719 40 1 Musikkultur und musikalische Sozialisation 41 Pitts, S. (2005). Valuing musical participation. Aldershot: Ashgate. Rawls, J., & Kelly, E. (2001). fustice as fairness: A restatement. Cambridge, MA: Harvard Uni­ 1.2 versity Press. Ursprünge der Musik Reuband, I<.-H. (2001). Opernbesuch als Teilhabe an der Hochkultur. Vergleichende Bevölk• erungsumfragen in Hamburg, Düsseldorf und Dresden zum Sozialprofil der Besucher christian Lehmann & Reinhard Kopiez und Nichtbesucher. In W. Heinrichs & A. Klein (Hrsg.), Deutsches fahrbuch für Kulturman­ agement 2001 (S. 42- 55). Baden-Baden: Nomos-Verlag. Reuband, I<.-H. (2006). Teilhabe der Bürger an der "Hochkultur": Die Nutzung kultureller Infrastruktur und ihre sozialen Determinanten. In A. Labisch (Hrsg.), Jahrbuch der Hein­ Die Frage nach den Ursprüngen der Musik wird seit den 1920er Jahren in­ rich-Heine-Universität Düsseldorf2005/ 06 (S. 263-283). Düsseldorf: Heinrich-Beine-Uni­ tensiv in der Musikpsychologie diskutiert. Antworten sucht man in der Evo­ versität. lutionsbiologie, der Archäologie und den kognitiven Neurowissenschaften. Reuband, I<.-H. (2011). Das Opernpublikum zwischen Überalterung und sozialer Exklusivi­ tät: Paradoxe Effekte sozialer Merkmale auf die Häufigkeit des Opernbesuchs. In Institut Aktuell dominieren Erklärungsansätze, die von einem gemeinsamen Vorläufer für Kulturpolitik der Kulturpolitischen Gesellschaft (Hrsg.), Jahrbuch für Kulturpolitik von Musik und Sprache ausgehen, einer Mischung aus affektiven, mimischen (Bd 1, S. 397-406). Essen: Klartext-Verlag. und gestischen Mitteln der Kommunikation. Erst im Lauf der Evolution des Rhein, S. (2011) . Musikpublikum und Musikpublikumsforschung. In P. Glogner & P. S. Föhl modernen Menschen haben sich daraus die Sprache und die Musik heraus­ (Hrsg.), Das Kulturpublikum: Fragestellungen und Befunde der empirischen Forschung differenziert. Musik ist vermutlich eine spezifische Anpassungsleistung des (S.153-193). Wiesbaden: VS Verlag für Sozialwissenschaften. Menschen, doch sind die möglichen Gründe für diese Leistung vielfältig: Rössel, J., Göllnitz, A., & Hackenbroch, R. (2002). Die soziale und kulturelle Differenzierung des Hochkulturpublikums. Sociologia Internationalis, 40(2), 191-212. sexuelle Selektion, Mutter-Kind-Beziehung, Formen der Gruppenbindung. Schütz, A., & Luckmann, Th. (1979) . Strukturen der Lebenswelt. Stuttgart: UTB. Voraussetzungen für die Entwicklung eines Musiksystems beim Menschen Schulze, G. (1992) . Die ~rlebnisgesellschaft. Frankfurt am Main: Campus-Verlag. sind die Fähigkeit zur vokalen Imitation und zur tempoflexiblen rhythmischen Schulze, G. (2000/2002). Was wird aus der Erlebnisgesellschaft?. http://www.bpb.de/ Synchronisation von Stimme und Bewegung. Jüngere prähistorische .Fund.e apuz/25682/was-wird -aus-der-erlebnisgesellschaft (zuletzt aktualisiert am 26.05.2002). datieren den Beginn der kulturellen Modernität des Menschen auf dte Zett Zugriff am 26. Mai 2017. Schurig, M., & Busch, V. (2014). Entwicklung
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