Export von (Militär-)Musikinstrumenten von Berlin nach Zentral- und Südamerika um 1900

The article outlines the significance of Prussian military music of the 19th and early 20th centuries in an international context. It focuses on deliveries of musical instruments and sheet music by the Berlin company C. W. Moritz to Central and South America around 1900. The delivery lists of 1897/98 for the Colombian military bands show that they were equipped according to the Prussian model, which goes back to the ideas of Wilhelm Wieprecht. He reformed and standardised the Prussian military music system between the 1830s and 1860s, thus creating the basis for its success. The sheet music enclosed with the musical instruments gives an insight into the popular musical taste of the period around 1900, which was increasingly introduced to Central and South America. Future research will ask what impact such imports of music and musical instruments had on the development of music in Central and South America. (Vorlage)

The development of musical taste and judgement : an investigation of the standard of musical taste and judgement in an unselected group of New Zealand school children

The purpose of this investigation is clearly expressed in its title; it is an attempt to trace the development (whether positive or negative) of the degree or standard of musical taste or judgement throughout the school life of an unselected group of normal children.

The development of musical taste and judgement : an investigation of the standard of musical taste and judgement in an unselected group of New Zealand school children

The purpose of this investigation is clearly expressed in its title; it is an attempt to trace the development (whether positive or negative) of the degree or standard of musical taste or judgement throughout the school life of an unselected group of normal children.

Rationales and Functions of Disliked Music: An In-Depth Interview Study

Music serves to satisfy emotional and social needs. In its individual quality as liked or disliked music, it can also be used to create and affirm one’s own identity. While studies on musical preferences are abundant, dislikes have rarely been considered in musical taste research. The current study is centered on the rationales and functions of musical dislikes using semi-structured interviews with participants from different age groups (N = 21). The observed rationales for disliked music followed three main themes of (1) object-related reasons such as the composition, the lyrics, and aesthetic dichotomies, (2) subject-related reasons such as emotions evoked – or not evoked – in the listener, physical reactions, self-related and normative reasons such as a mismatch with the self-image, and (3) social reasons which reflect a rejection of the values presented by the music and its fans and therefore underlining the importance of social distinction as a function of musical dislikes. Other functions include identity expression, the avoidance of negative emotional and physical states, and the implicitly expressed demonstration of musical competence. The explanations for disliked music are based on both an excess or lack of certain qualities of the music or emotional reaction to the music, pointing to the idea of a missing ideal mean of music. Quantitatively, the rationales found relate to a combination of reference points which is mainly the music, but often in combination with the lyrics, the performance, the artist, and the fans. Further, the degree of dislike ranged from a slight dislike to strong hatred. To conclude, musical dislikes are a complex, multidimensional component of musical taste. Taking musical dislikes into account, the diversity and complexity of an everyday aesthetics of music can be captured, extending our understanding of attitudes toward music and the functions of music.

MUSIC AS A TOOL FOR MOOD REGULATION: THE ROLE OF ABSORPTION VS. MINDFULNESS

The aim of this research was to determine the relationship between mindfulness, absorption in music, and emotion regulation through music in people who have different tastes in music. The research started from the assumption that absorption in music means the possibility of deep “absorption” in musical experience and thus a greater possibility of emotion regulation through music. In contrast to absorption, mindfulness as full awareness of the current moment or a state of consciousness in which attention is intentionally focused on one’s own experiences (bodily sensations, senses, thoughts, or emotions) could make it difficult to indulge in a musical experience. In order to test these assumptions, a study was conducted on 252 participants in late adolescence and young adulthood age who, in addition to using instruments designed to examine absorption in music, mindfulness, and emotion regulation through music, assessed their musical taste. The results showed a positive correlation between the preferences for different music styles and absorption in music, as well as between absorption in music and different strategies for regulating emotions through music. Mindfulness, on the other hand, proved to be negatively correlated with both absorption in music and most strategies for regulating mood through music. Conducted regression analyses showed that in addition to controlling musical taste, absorption in music is a positive predictor of all emotion regulation strategies, while mindfulness is a negative predictor of discharging negative emotions and forgetting unwanted thoughts and feelings through music.

Seeking the Roots of The Music Man

While Meredith Willson is best remembered for his first musical The Music Man, he was fifty-five years old when it opened on Broadway in 1957. It is not generally known that he had already enjoyed a highly successful career before then, nor is the impact of his previous career on The Music Man fully understood. This chapter explores his activities as a performer in the John Sousa band and New York Philharmonic, as a radio conductor and host, as a Hollywood arranger and composer, as a pop song writer, as a novelist, music educator, and writer of memoirs, to show how the eclecticism of his musical taste and expertise led to his greatest work.

Introduction

During Alban Berg’s lifetime, Vienna witnessed a change in the outlook for modern music from optimism to pessimism. In the later nineteenth century music flourished in Vienna, supported by a devoted middle-class audience, the talent of the city’s many Jewish musicians, the stimulus provided by other arts, and a general optimism about the future. A pronounced division in musical taste existed in Vienna between conservatives and progressives. The latter developed a controversial harmonic style associated with modernism that came to be termed “atonality.” The collapse of the Habsburg Monarchy and the turbulent aftermath to World War I signaled an end to tolerance for musical modernism.

THE THREE KEYS TO A MUSICAL TREASURE

The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other forms of art, music is a miraculous tool capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. This article presents the pedagogical aspects of the formation of personality in the lessons of music culture, suggestions on the use of national melodies, the opportunities of our musical heritage, and suggestions on the use of Uzbek classical music in the development of artistic taste of future music teachers. The three aspects of musical activity, namely the ability to listen to music, musical taste, and musical sensitivity, are analyzed as factors that determine the extent to which a music listener or performer’s overall artistic taste has developed. Keywords: music, sound, aesthetic education, piece of music, listening to music, musical taste, musical perception, rhythm, timbre, artistic taste.