Schwierigkeiten bei der Untersuchung des Gefühlsausdrucks in der Musik und Versuch ihrer Überwindung.

Autor/in	Juzl, Milos
Titel	Schwierigkeiten bei der Untersuchung des Gefühlsausdrucks in der Musik und Versuch ihrer Überwindung.
Quelle	Aus: Behne, Klaus-E. (Hrsg.): Gefühl als Erlebnis - Ausdruck als Sinn. Laaber: Laaber-Verlag (1982) S. 69-87 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	10.25656/01:24765
URN	urn:nbn:de:0111-pedocs-247651
Schlagwörter	Methode; Ausdruck; Emotion; Gefühlsausdruck; Kommunikation; Reaktion (Psy); Semantik; Text; Kunst; Musik; Musikpädagogik; Transformation; Studie; Wirkung; Zuordnung; Schauspieler
Abstract	Every work of art - including music - always has coded within itself a certain range of emotions and feelings. However, the semantic-axiological system of the recipient either makes it impossible to sufficiently distinguish certain of his coded emotions and feelings, or else he makes the distinction but does not experience it aesthetically. Furthermore, if there is a poor semantic decoding of the work, the recipient can experience emotions and feelings that are not to be found in the work itself. The dynamics, continuity, and also the parallelism and linkage of certain emotions and feelings are the reason why a standardized, systematic questionnaire cannot be drawn up which would be able to examine emotional and sensitive communication sets and modeln in music and the impact of music on the recipient. A questionnaire in this case can only serve as an auxiliary aid. The author presents the result of using two direct methods with activities reacting to activity, without the medium of a questionnaire. The first is called method of psychoacoustic transformation. A text, belonging to a selected musical vocal example, is first read by an actor without the influence of music, and then under the influence of music. This method makes it possible to follow in detail the choice of expressive means to reflect a certain emotion and feeling. The second method is one of emotional matching. According to the emotional aspect of an example of "absolute" music, the listeners must choose matching poetic examples. This method permits examination of the amount of conventions contained in emotional expression and perception. (DIPF/Orig.).
Erfasst von	DIPF \| Leibniz-Institut für Bildungsforschung und Bildungsinformation, Frankfurt am Main
Update	2023/1