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The bias of "music-infected consciousness": the aesthetics of listening in the laboratory and on the city streets of Fin-de-Siècle Berlin and Vienna.
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- Author(s): Hui AE
- Source:
Journal of the history of the behavioral sciences [J Hist Behav Sci] 2012 Summer; Vol. 48 (3), pp. 236-50. Date of Electronic Publication: 2012 May 18.- Publication Type:
Historical Article; Journal Article; Research Support, Non-U.S. Gov't- Language:
English - Source:
- Additional Information
- Source: Publisher: Wiley Country of Publication: United States NLM ID: 18020010R Publication Model: Print-Electronic Cited Medium: Internet ISSN: 1520-6696 (Electronic) Linking ISSN: 00225061 NLM ISO Abbreviation: J Hist Behav Sci Subsets: MEDLINE
- Publication Information: Publication: New York : Wiley
Original Publication: [Brandon, Vt.] - Subject Terms:
- Abstract: Shifts in the psychophysical study of sound sensation reinforced the changing status of musical expertise in the nineteenth century. The Carl Stumpf-Wilhelm Wundt debate about tone-differentiation experimentation narrowed the conception of hearing. For Stumpf, "music consciousness" (Musikbewusstsein) granted the experimental subjects exceptional insight into sound sensation. This belief reflected a cultural reevaluation of listening, exemplified in music critic Eduard Hanslick decrying the scourge of the city: the piano playing of the neighbors. Stumpf and Hanslick's defenses of subjective musical expertise both inside the laboratory and on the city streets reveal the increasingly divergent conceptions of hearing and listening.
(© 2012 Wiley Periodicals, Inc.) - Publication Date: Date Created: 20120522 Date Completed: 20150625 Latest Revision: 20141103
- Publication Date: 20240104
- Accession Number: 10.1002/jhbs.21546
- Accession Number: 22610584
- Source:
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