The Department of Music

In the Department of Music, music historians, music theorists, and ethnomusicologists work and research hand in hand with psychologists, sociologists, and neuroscientists in order to jointly develop a transdisciplinary aesthetics of music in which all relevant approaches and methods are productively intertwined. The intention is to gain a better understanding of the specific field of experience and practice that humans have created for themselves with music and how they make use of it.

Our research questions address key topics in philosophical aesthetics like taste, judgment, and particularly, aesthetic experience. We investigate these by orienting ourselves with a conceptual framework that considers the aesthetic experience of music to be the result of the coincidence in time and space of three meta-factors: a person, a sequence of sounds, and a situational and discursive frame (“frame” in the sense of Erving Goffman). Each of these has specific characteristics and manifestations that, in interplay with each other, give rise to a specific aesthetic experience.

We examine the aesthetic experience of music... 

...and its factors using a full range of empirical methods: we gather self-reported information in the form of qualitative interviews and questionnaires with open-ended and closed-ended questions, we observe and analyze behavior—again, qualitatively and quantitatively, and we measure the physiological and neural correlates of listening to music.

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The reception situations we examine include not only experiments in typical laboratory settings, but also semi-realistic settings in our ArtLab as well as real everyday experiences. All types of music and all ways of handling music (“musicking,” to use Christopher Small’s term) hold interest for us. It is particularly important to us to expand empirical music aesthetics to explore repertoires, practices, and discourses of non-Western cultures. Therefore, we also work comparatively across cultures and conduct studies in other countries and continents. Here, as well as in our research on the aesthetic experience in realistic live contexts (such as at a concert or a religious service), our pursuit of specific research questions is always linked with development of methods.

Intentionally, we conduct not only empirical, but also historical and theoretical research; after all, music, musicking practices, and related norms are first of all socioculturally determined and historically mutable phenomena.

News

New Study Identifies Three Groups of Concert Stream User

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It Is Not Acoustic Characteristics, but Personal Perception that Determines Preferences

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Research Areas

Aesthetic experience of music: dimensions, qualities and measurements

Whether the aesthetic experience of music can be meaningfully measured at all—and if so, how—and what type of knowledge is gained through such measurements, is perhaps the most controversial question in empirical aesthetics. It seems that an almost insurmountable gap arises between philosophical concepts and literary or autobiographical descriptions of aesthetic experiences on the one hand and typical empirical measurements on the other.

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Aesthetic experience of music in live and medial contexts

While existing research, particularly in music psychology, has primarily investigated the combined effect of the individual’s and the stimulus features to better understand evaluative, emotional, or behavioral responses to music, we are also investigating the influences of frames.

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Long-term editorial projects

Empirical studies on cultural artifacts and practices like music can profit enormeously from a sound historical knowledge on music, its practices, aesthetics and discourses. Therefore, we not only deal with relevant historical aspects in a number of single studies, but have also started two series of long-term projects.

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Aesthetic experience of music: influencing factors on individual and group level

The observation that one and the same aesthetic object is valued differently by different people was already made and discussed in antiquity, as well as the observation that people differ in regard to their more or less stable preferences for or aversions to aesthetic objects and object classes.

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Musical development in children

How do children learn to sing melodies and produce rhythms? How do they develop musical taste? How do they learn to understand and use music in various situations? Can we boost spontaneous, implicit musical learning with educational interventions?

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Latest Publications

Wald-Fuhrmann, M. (2024). Music in Christian services as a means to induce religious feelings. In G. Corbett, & S. Moerman (Eds.), Music and spirituality: Theological approaches, empirical methods, and Christian worship (pp. 273-284). Cambridge, UK: Open Book Publishers. doi:10.11647/obp.0403.13.
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Nuttall, T., Serra, X., & Pearson, L. (2024). Svara-forms and coarticulation in Carnatic music: an investigation using deep clustering. In D. M. Weigl (Ed.), DLfM '24: Proceedings of the 11th International Conference on Digital Libraries for Musicology (pp. 15-22). New York, United States: Association for Computing Machinery. doi:10.1145/3660570.3660580.
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Teng, X., Larrouy-Maestri, P., & Poeppel, D. (2024). Segmenting and predicting musical phrase structure exploits neural gain modulation and phase precession (accepted manuscript). The Journal of Neuroscience, e1331232024. doi:10.1523/JNEUROSCI.1331-23.2024.
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Degé, F., Frischen, U., & Schwarzer, G. (2024). Musikunterricht und kognitive Entwicklung. In G. Bernatzky, & G. Kreutz (Eds.), Musik und Medizin: Chancen für Therapie, Prävention, Rehabilitation und Bildung (2, pp. 515-538). Berlin, Heidelberg: Springer. doi:10.1007/978-3-662-67506-9_27.
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Tan, Y., Sun, Z., Teng, X., Larrouy-Maestri, P., Duan, F., & Aoki, S. (2024). Effective network analysis in music listening based on electroencephalogram. Computers and Electrical Engineering,117: 109191. doi:10.1016/j.compeleceng.2024.109191.
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Forman, R. K. C., & Wald-Fuhrmann, M. (2024). The body of “the Body of Christ”: An introduction to hyperscanning research and a discussion of its possible implications for understanding social experiences during religious gatherings. Pastoral Psychology. doi:10.1007/s11089-024-01142-x.
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Egermann, H., Siebrasse, A., Weining, C., O’Neill, K., Tröndle, M., & Wald-Fuhrmann, M. (2024). Developing digital classical concert stream offerings: A typology of audience preferences. The Journal of Arts Management, Law, and Society,54(3), 125-141. doi:10.1080/10632921.2024.2347397.
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Ozaki, Y., Tierney, A., Pfordresher, P. Q., McBride, J., Benetos, E., Proutskova, P., Chiba, G., Liu, F., Jacoby, N., Purdy, S. C., Opondo, P., Fitch, W. T., Hegde, S., Rocamora, M., Thorne, R., Nweke, F., Sadaphal, D. P., Sadaphal, P. M., Hadavi, S., Fujii, S., Choo, S., Naruse, M., Ehara, U., Sy, L., Parselelo, M. L., Anglada-Tort, M., Hansen, N. C., Haiduk, F., Færøvik, U., Magalhães, V., Krzyżanowski, W., Shcherbakova, O., Hereld, D., Barbosa, B. S., Correa Varella, M. A., Van Tongeren, M., Dessiatnitchenko, P., Zar Zar, S., El Kahla, I., Muslu, O., Troy, J., Lomsadze, T., Kurdova, D., Tsope, C., Fredriksson, D., Arabadjiev, A., Sarbah, J. P., Arhine, A., Meachair, T. Ó., Silva-Zurita, J., Soto-Silva, I., Millalonco, N. E. M., Ambrazevičius, R., Loui, P., Ravignani, A., Jadoul, Y., Larrouy-Maestri, P., Bruder, C., Teyxokawa, T. P., Kuikuro, U., Natsitsabui, R., Sagarzazu, N. B., Raviv, L., Zeng, M., Varnosfaderani, S. D., Gómez-Cañón, J. S., Kolff, K., Vanden Bos der Nederlanden, C., Chhatwal, M., David, R. M., I. Putu Gede, S., Lekakul, G., Borsan, V. N., Nguqu, N., & Savage, P. E. (2024). Globally, songs and instrumental melodies are slower, higher, and use more stable pitches than speech: A registered report. Science Advances,10(20): eadm9797. doi:10.1126/sciadv.adm9797.
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Bruder, C., Poeppel, D., & Larrouy-Maestri, P. (2024). Perceptual (but not acoustic) features predict singing voice preferences. Scientific Reports,14: 8977. doi:10.1038/s41598-024-58924-9.
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Meinel, L. S., Bullerjahn, C., Lindau, A., & Wald-Fuhrmann, M. (2024). Capturing differences in perception and aesthetic judgment of live or medially presented music: development of a self-report instrument. Frontiers in Psychology,15: 1339168. doi:10.3389/fpsyg.2024.1339168.
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Director

Melanie Wald-Fuhrmann

Prof. Dr. Melanie Wald-Fuhrmann

Music

Managing Director

+49 69 8300479-200

E-Mail

Assistants

Myriam Mieles

Myriam Mieles

Music

Assistant

+49 69 8300479-201

E-Mail

Researchers

    Academic Degrees

    2023

    Anna Czepiel

    Assessing real-world music listening in concerts: Aesthetic experiences and peripheral physiological responses (Maastricht University)

    2022

    Christian Bär

    Musikdiskurse. Sprachliche Muster, Dichte, Diversität im Sound populärer Musikrezensionen, Dissertation (Universität Bremen)  

    Iris Mencke
    Appreciating Musical Uncertainty – Characterizing the Cognitive, Neural and Affective Correlates of New Music, Dissertation (Goethe-Universität, Frankfurt am Main)

    2019

    Taren Ackermann
    "Disliked Music". Merkmale, Gründe und Funktionen abgelehnter Musik. Dissertation (Universität Kassel)

    2018

    Julia Merrill
    Stimmen – schön schrecklich oder schrecklich schön? Beschreibung, Bewertung und Wirkung des vokalen Ausdrucks in der Musik, Habilitation Musikwissenschaft (Universität Kassel)

    Thijs Vroegh
    The pleasures of getting involved into the music: Absorption, and its role in the aesthetic appreciation of musik, Dissertation (Goethe-Universität Frankfurt am Main)

    Fabian Greb
    Determinants of Music-selection Behaviour: Development of a Model, Dissertation (Technische Universität Berlin)

    2017

    Paul Elvers
    Music listening as self-enhancement: How empowering music affects self-esteem, Dissertation (Goethe Universität Frankfurt am Main)

    2014

    Christoph Seibert
    Musik und Affektivität: Systemtheoretische Perspektiven für eine transdisziplinäre Musikforschung, Dissertation (Hochschule für Musik Karlsruhe)
    Veröffentlicht als: Seibert, C. (2016): Musik und Affektivität: Systemtheoretische Perspektiven für eine transdisziplinäre Musikforschung. Weilerswist: Velbrück Wissenschaft.