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      Music Listening in Classical Concerts: Theory, Literature Review, and Research Program


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          Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.

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          Framing: Toward Clarification of a Fractured Paradigm

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              Frame Analysis : An Essay on the Organization of Experience


                Author and article information

                Front Psychol
                Front Psychol
                Front. Psychol.
                Frontiers in Psychology
                Frontiers Media S.A.
                27 April 2021
                : 12
                : 638783
                [1] 1Department of Music, Max Planck Institute for Empirical Aesthetics , Frankfurt am Main, Germany
                [2] 2York Music Psychology Group, University of York , York, United Kingdom
                [3] 3WÜRTH Chair of Cultural Production, Zeppelin University , Friedrichshafen, Germany
                [4] 4Experimental Psychology Division, University Hospital for Psychiatry and Psychotherapy, University of Bern , Bern, Switzerland
                [5] 5Radialsystem V , Berlin, Germany
                [6] 6Department of Applied Musicology, Gustav Mahler Private University for Music , Klagenfurt, Austria
                Author notes

                Edited by: Graham Frederick Welch, University College London, United Kingdom

                Reviewed by: Diana Mary Blom, Western Sydney University, Australia; Karen Burland, University of Leeds, United Kingdom

                *Correspondence: Melanie Wald-Fuhrmann, melanie.wald-fuhrmann@ 123456ae.mpg.de

                This article was submitted to Performance Science, a section of the journal Frontiers in Psychology

                Copyright © 2021 Wald-Fuhrmann, Egermann, Czepiel, O’Neill, Weining, Meier, Tschacher, Uhde, Toelle and Tröndle.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                : 07 December 2020
                : 25 March 2021
                Page count
                Figures: 2, Tables: 0, Equations: 0, References: 167, Pages: 14, Words: 0

                Clinical Psychology & Psychiatry
                concert,music listening,classical music,performance,aesthetic experience


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