Michael Spitzer ist Professor für Musikwissenschaften an der Universität von Liverpool. Er ist einer der weltweit angesehensten Beethoven-Experten und forscht über die Philosophie und Psychologie der Musik. Spitzer spielt ausgezeichnet Klavier und lebt mit seiner Frau und den beiden Töchtern ganz in der Nähe der Penny Lane.
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1 Ein Buch oder einen Artikel mit Voyager und der Goldenen Schallplatte zu beginnen, ist ein Mem geworden, ein wiederkehrendes kulturelles Klischee. Es eröffnet folgende Studien, und wahrscheinlich viele weitere mehr: Philip Ball, The Music Instinct: How Music Works and Why We Can’t Do Without It, London: Vintage Books, 2011; zwei zusammenhängende Essays von Daniel K. L. Chua und Alexander Rehding, »Music Theory in Space« und »Musicologists in Space«, beide in IMS Musicological Brainfood 1/1, 2017, S. 3–7; David Trippett, »The Voyager metaphor: 40 years on«, Sound Studies 4/1 (2018), S. 96–9.
2 http://www.collectspace.com/ubb/Forum9/HTML/001191.html
3 The Philosophical Review 83/4 (Okt. 1974), S. 435–50.
4 Siehe Ellingtons Standard unter https://www.youtube.com/watch?v=qDQpZT3GhDg; Beethoven schrieb das im Manuskript von Missa Solemnis; Ali Khan, zitiert unter https://www.pinterest.co.uk/pin/432416001697466927/
5 Randall E. Stross, The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World, New York: Crown Publishers, 2007.
6 Daniel Leech-Wilkinson, »Portamento and Musical Meaning«, Journal of Musicological Research 25 (2006), S. 233–61.
7 José Bowen, »Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance«, Journal of Musicological Research 16 (1996), S. 111–56.
8 Robert D. Levin, »Improvised embellishments in Mozart’s keyboard music«, Early Music 20/2 (Mai 1992), S. 221.
9 Giulio Cattin, Music of the Middle Ages, Cambridge: Cambridge University Press, 1984, S. 162.
10 https://www.youtube.com/watch?v=QUcTsFe1PVs
11 Steve Mills, Auditory Archaeology: Understanding Sound and Hearing in the Past, London: Routledge, 2014.
12 Ontogenese ist die Entwicklung eines Organismus von der Befruchtung des Eis bis zur vollständigen Reife. Phylogenese ist die Evolution einer kompletten Spezies oder einer Gruppe von Organismen.
13 Patrik Juslin und Daniel Västfjäll, »Emotional Responses to Music: The Need to Consider Underlying Mechanisms«, Behavioral and Brain Sciences 31 (2008), S. 559– 621 (S. 570).
14 Zitiert in Keith Oatley, Emotions: A Brief History, Oxford: Blackwell, 2004, S. 63. Siehe Sigmund Freud, Civilization and its Discontents. Übersetzung von Peter Gay, New York: W. W. Norton, 1984, deutsche Ausgabe: Sigmund Freud, Das Unbehagen in der Kultur, Erstauflage, Wien: Internationaler Psychoanalytischer Verlag, 1930, S. 16.; https://www.projekt-gutenberg.org/freud/unbehag/unbehag.html
15 Albert S. Bregman, Auditory Scene Analysis: The Perceptual Organization of Sound, MIT, Massachusetts: MIT Press, 1990.
16 Aniruddh D. Patel, Music, Language, and the Brain, New York: Oxford University Press, 2007, S. 77.
17 Roger Scruton, The Aesthetics of Music, Oxford: Oxford University Press, 1997, S. 96.
18 Andrei Miu und Joanna Vuoskoski, »The social side of music listening: empathy and contagion in music-induced emotions«, in: Elaine King und Caroline Waddington (Hg.), Music and Empathy, Oxford: Routledge, 2017, S. 124–38.
19 Youna Kim (Hg.), The Korean Wave: Korean Media Go Global, London: Routledge, 2013.
20 Susan Blackmore, The Meme Machine, New York: Oxford University Press, 1999.
21 Paul Ekman, Emotions Revealed: Understanding Faces and Feelings, New York: Henry Holt and Company, 2007.
22 Charles Darwin, The Expression of the Emotions in Man and Animals: Definitive Edition, New York: Harper Perennial, 2009. Erstveröffentlichung 1872.
23 Victoria Williamson, You are the Music: How Music Reveals What it Means to be Human, London: Icon Books Ltd, 2014, S. 13.
24 John Blacking, Venda Children’s Songs: A Study in Ethnomusicological Analysis, Chicago: The University of Chicago Press, 1967; How Musical is Man?, Washington: University of Washington Press, 1973.
25 Kathleen Higgins, The Music Between Us: Is Music a Universal Language?, Chicago: The University of Chicago Press, 2012.
26 Naomi Cumming, The Sonic Self: Musical Subjectivity and Signification, Bloomington, Indiana: Indiana University Press, 2000.
27 Michael Taussig, Mimesis and Alterity: A Particular History of the Senses, New York: Routledge, 1993.
28 Judith Becker, Deep Listeners: Music, Emotion, and Trancing, Bloomington, Indiana: Indiana University Press, 2004.
29 John Roberts, History of the World, Oxford: Oxford University Press, 1993; The Triumph of the West, London: BBC Books, 1985.
30 Molefi Kete Asante, The History of Africa: The Quest for Eternal Harmony, London: Routledge, 2015, S. 120.
31 David Hinton (Übers.), The Selected Poems of Wang Wei, New York: New Directions, 2006.
32 Anthony Seeger, Why Suyá Sing, Urbana: University of Illinois Press, 2004. Das bei Außenstehenden vormals als »Suyá« bekannte indigene Volk pocht inzwischen auf den Namen, den es selbst für sich gebraucht: Kisêdjê.
33 Beverley Diamond, »Native American ways of (music) history«, in: Philip Bohlman (Hg.), The Cambridge History of World Music, Cambridge: Cambridge University Press, 2013, S. 155–79 (S. 165).
34 Gary Tomlinson, »Musicology, Anthropology, History«, Il Saggiatore musicale 8/1 (2001), S. 21–37.
35 John Nicholson, Songlines and Stone Axes, New South Wales: Allen & Unwin, 2007.
36 Kermit Ernest Campbell, Gettin’ our Groove on: Rhetoric, Language, and Literacy for the Hip Hop Generation, Detroit: Wayne State University Press, 2005.
37 Lothar von Falkenhausen, Suspended Music: Chime-Bells in the Culture of Bronze Age China, Berkeley: University of California Press, 1993, S. 3.
38 Joscelyn Goodwin, Robert Fludd: Hermetic Philosopher and Surveyor of Two Worlds, Newburyport, Mass.: Phanes Press, 1991; Johannes Kepler, The Harmony of the World, Philadelphia: The American Philosophical Society, 1997. Deutsch: Weltharmonik, übertr. u. eingel. v. Max Caspar, 7. Aufl., München: Oldenbourg Verlag, 2006.
39 http://quantummusic.org/
40 Tristram Kidder, Liu Haiwang, Michael Storozum und Qin Zhen, »New Perspectives on the Collapse and Regeneration of the Han Dynasty«, in: Ronald Faulseit (Hg.), Beyond Collapse: Archaeological Perspectives on Resilience, Revitalization, and Transformation in Complex Societies, Carbondale: Southern Illinois University, 2015, S. 70–98; Erica Fox Brindley, Music, Cosmology, and the Politics of Harmony in Early China, Albany: SUNY Press, 2012.
41 Christopher Page, The Christian West and its Singers: The First Thousand Years, New Haven: Yale University Press, 2010.
42 Michael Tenzer, Balinese Music, Berkeley: Periplus Editions, S. 20.
43 Kofi Agawu, Representing African Music: Postcolonial Notes, Queries, Positions, New York: Routledge, 2003, S. 3.
44 Iain Morley, The Prehistory of Music: Human Evolution, Archaeology, and the Origins of Musicality, New York: Oxford University Press, 2013.
45 Steven Feld, Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression, Philadelphia: University of Pennsylvania Press, 1982.
46 John Iliffe, Africans: The History of a Continent, Cambridge: Cambridge University Press, 1995, S. 120.
47 Joachim Braun, Music in Ancient Israel/Palestine: Archaeological, Written, and Comparative Sources, Cambridge: William B. Eerdmans Publishing Company, 2002, S. 70.
48 John Arthur Smith, Music in Ancient Judaism and Early Christianity, London: Routledge, 2016, S. 91–2.
49 Alexander Akorlie Agodoh, African Music: Traditional and Contemporary, New York: Nova Science Publishers, 2005, S. 13.
50 Sandra Trehub und Laurel Trainor, »Singing to Infants: Lullabies and Play Songs«, in: Carolyn Rovee-Collier, Lewis Lipsitt und Harlene Hayne (Hg.), Advances in Infancy Research 12, London: Ablex Publishing Corporation, 1998, S. 49–55.
51 Pamela Stern, Daily Life of the Inuit, Santa Barbara: Greenwood, 2010, S. 119.
52 Brian Breed, Pastoral Inscriptions: Reading and Writing Virgil’s Eclogues, London: Bloomsbury, 2012, S. 64.
53 Alan Merriam, The Anthropology of Music, Evanston, Ill.: Northwestern University Press, 1980, S. 214.
54 Veronica Doubleday, »The Frame Drum in the Middle East: Women, Musical Instruments, and Power«, in: Jennifer Post (Hg.), Ethnomusicology: A Contemporary Reader, London: Routledge, 2006, S. 101–34 (S. 112).
55 Scott Burnham, Beethoven Hero, Princeton, NJ: Princeton University Press, 2000.
56 Zitiert in Stephen Rumph, Beethoven after Napoleon: Political Romanticism in the Late Works, Berkeley: California University Press, 2004, S. 100. Überlieferter deutscher Wortlaut unter: https://www.beethoven.de/de/g/Zeitgenossen
57 David Hebert und Jonathan McCollum, »Philosophy of History and Theory in Historical Ethnomusicology«, in: Jonathan McCollum und David G. Hebert (Hg.), Theory and Method in Historical Ethnomusicology, New York: Lexington Books, 2014, S. 85–148 (S. 109).
58 https://www.youtube.com/watch?v=z_sFVFsENMg. Siehe auch Kofi Agawu, The African Imagination in Music, New York: Oxford University Press, 2016, S. 295.
59 Katrina Thompson, Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery, Urbana: University of Illinois Press, 2014, S. 17.
60 Lewis Rowell, Musicand Musical Thoughtin Early India, Chicago: University of Chicago Press, 1992.
61 Bruno Nettl und Philip Bohlman (Hg.), Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology, Chicago: The University of Chicago Press, 1991, S. 71.
62 Roger Hart, Imagined Civilizations: China, the West, and their first Encounter, Baltimore: The Johns Hopkins University Press, 2013, S. 119.
63 Fadlou Shehadi, Philosophies of Music in Medieval Islam, Leiden: E. J. Brill, 1995, S. 82.
64 Judith Becker, Deep Listeners: Music, Emotion, and Trancing, Bloomington, Indiana: Indiana University Press, 2004, S. 57.
65 Regula Qureshi, Sufi Music of India and Pakistan: Sound, Context and Meaning in Qawaali, Cambridge: Cambridge University Press, 1986.
66 Max Weber, The Rational and Social Foundations of Music, Carbondale: Southern Illinois University Press, 1958; deutsch: Die rationalen und soziologischen Grundlagen der Musik, Erstveröffentlichung aus dem Nachlass, München: Drei Masken Verlag, 1921. Theodor Adorno, Philosophy of Modern Music, New York: Continuum, 2007; deutsch: Philosophie der neuen Musik, Tübingen: Mohr, 1949. Mark Evan Bonds, Absolute Music: The History of an Idea, New York: Oxford University Press, 2014.
67 Daniel Leech-Wilkinson, Machaut’s Mass: An Introduction, Oxford: Clarendon Press, 1992.
68 Jacques Chailley, übers. von Rollo Myers, 40,000 Years of Music, London: Macdonald & Co., 1964.
69 Marian Hu, Hong Young Yan, Wen-Sung Chung, Jen-Chieh Shiao und Pung-Pung Hwang, »Acoustically evoked potentials in two cephalopods inferred using the auditory brainstem response (ABR) approach«, Comparative Biochemistry and Physiology, Part A 153/3 (Juli 2009), S. 278–83.
70 https://blogs.scientificamerican.com/octopus-chronicles/even-severed-octopus-arms-have-smart-moves/
71 George Lakoff and Mark Johnson, Metaphors We Live By, Chicago: Chicago University Press, 1980.
72 Arnie Cox, Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking, Bloomington: Indiana University Press, 2016.
73 Barbara King, The Dynamic Dance: Nonvocal Communication in African Great Apes, Cambridge, Mass.: Harvard University Press, 2004.
74 Ray Jackendoff, Foundations of Language: Brain, Meaning, Grammar, Evolution, New York: Oxford University Press, 2002; Fred Lerdahl und Ray Jackendoff, A Generative Theory of Tonal Music, Cambridge, Mass.: MIT Press, 1985.
75 Fred Spier, Big History and the Future of Humanity, Oxford: Wiley, 2015, S. 202.
76 Bruce Richman, »Rhythm and Melody in Gelada Vocal Exchanges«, Primates 28/2 (April 1987), S. 199–223.
77 Patrik Juslin und Daniel Västfjäll, »Emotional Responses to Music: The Need to Consider Underlying Mechanisms«, Behavioral and Brain Sciences 31 (2008), S. 559– 621.
78 Donald C. Johanson und Blake Edgar, From Lucy to Language, New York: Simon & Schuster, 1996.
79 Steven Mithen, »The significance of stones and bones: understanding the biology and evolution of rhythm requires attention to the archaeological and fossil record«, in: Patrick Rebuschat, Martin Rohrmeier, John A. Hawkins und Ian Cross (Hg.), Language and Music as Cognitive Systems, New York: Oxford University Press, 2012, S. 103–9 (S. 105).
80 Wray, Alison, »Protolanguage as a holistic system for social interaction«, Language & Communication 18/1 (1998), S. 47–67.
81 Nicht alle Linguisten sind dieser Meinung, siehe W. Tecumseh Fitch, The Evolution of Language, Cambridge: Cambridge University Press, 2010.
82 David Begun (Hg.), A Companion to Paleoanthropology, Oxford: Wiley-Blackwell, 2013, S. 278.
83 Steven Mithen, The Singing Neanderthals: The Origins of Music, Language, Mind and Body, Cambridge, Mass.: Harvard University Press, 2005.
84 Gary Tomlinson, A Million Years of Music: The Emergence of Human Modernity, New York: Zone Books, 2015.
85 Steven Pinker, How the Mind Works, New York: Norton & Norton, 2009, S. 534.
86 Ian Cross, »Is music the most important thing we ever did? Music, development, and evolution«, in: S. W. Yi (Hg.), Music, Mind, and Science, Seoul: Seoul National University Press, 1999, S. 27–39.
87 Daniel Dennett, Darwin’s Dangerous Idea: Evolution and the Meanings of Life, New York: Simon & Schuster, 1995, S. 272; Stephen Davies, The Artful Species: Aesthetics, Art, and Evolution, New York: Oxford University Press, 2012, S. 141.
88 David Cope, Virtual Music: Computer Synthesis of Musical Style, Cambridge, Mass: MIT Press, 2001.
89 Austin DeMarco (Hg.), Gamification: Concepts, Methodologies, Tools, and Applications, Hershey, PA: Information Science Reference, 2015, S. 1333–41; Michael Austin (Hg.), Music Video Games: Performance, Politics, and Play, London: Bloomsbury, 2016.
90 Lawrence Kramer, »Classical Music for the Posthuman Condition«, in: John Richardson, Claudia Gorbman und Carol Vernallis (Hg.), The Oxford Handbook of New Audiovisual Aesthetics, New York: Oxford University Press, 2013, S. 39–52.
1 Takashi Ohnishi, Hiroshi Matsuda, Takashi Asada, Makoto Aruga, Makiko Hirakata, Masami Nishikawa, Asako Katoh und Etsuko Imabayashi, »Functional Anatomy of Musical Perception in Musicians«, Cerebral Cortex 11/8 (August 2001), S. 754–60 (S. 754).
2 Christian Gaser und Gottfried Schlaug, »Brain Structures Differ between Musicians and Non-Musicians«, The Journal of Neuroscience 23/27 (2003), S. 9240–5.
3 Siehe etwa Thomas Münte, Wido Nager, Tilla Beiss, Christine Schroeder und Eckart Altenmüller, »Specialization of the specialized: Electrophysiological investigations in professional musicians«, Annals of the New York Academy of Science 999 (2006), S. 131–9.
4 Kofi Agawu, The African Imagination in Music, New York: Oxford University Press, 2016.
5 R. Stone, »African Music in a Constellation of Arts«, in: R. Stone (Hg.), The Garland Encyclopedia of World Music, New York: Garland, 1998, S. 1–12 (S. 7); Jane Davidson und Andrea Emberly, »Embodied Musical Communication across Cultures: Singing and Dancing for Quality of Life and Wellbeing Benefit«, in: Raymond MacDonald, Gunter Kreutz und Laura Mitchell (Hg.), Music, Health, and Wellbeing, New York: Oxford University Press, 2012, S. 136–52 (S. 143).
6 Heiner Gembris, »Music-Making as a Lifelong Development and Resource for Health«, in: MacDonald u. a. (Hg.), Music, Health, and Wellbeing, S. 367–82 (S. 371).
7 Jean-Pierre Lecanuet, »Prenatal auditory experience«, in: Irene Deliège und John Sloboda (Hg.), Musical Beginnings: Origins and Development of Musical Competence, Oxford: Oxford University Press, 1996, S. 1–42.
8 L. Salk, »The effects of the normal heartbeat sound on the behavior of the newborn infant: implications for mental health«, World Mental Health 12 (1960), S. 1–8.
9 Kathleen A. Corrigall und Glenn E. Schellenberg, »Music cognition in childhood«, in: Gary E. McPherson (Hg.), The Child as Musician: A handbook of musical development, New York: Oxford University Press, 2016, S. 81–101 (S. 88).
10 Marcel Zentner und Tuomas Eerola, »Rhythmic engagement with music in infancy«, PNAS 107/13 (2010), S. 5768–72.
11 Colwyn Trevarthen und Kenneth Aitken, »Infant Intersubjectivity: Research, Theory, and Clinical Applications«, Journal of Child Psychology and Psychiatry 42/1 (2001), S. 3–48.
12 Daniel N. Stern, The Interpersonal World of the Infant: A View from Psychoanalysis and Developmental Psychology, New York: Karnac, 1998, S. 138.
13 Kathleen Higgins, The Music Between Us: Is Music a Universal Language?, Chicago: The University of Chicago Press, 2012.
14 Stephen N. Malloch, »Mothers and infants and communicative musicality«, Musicae Scientiae Special Issue (1999–2000), S. 29–57 (S. 47).
15 Maya Gratier, »Expressions of belonging: the effect of acculturation on the rhythm and harmony of mother-infant vocal interaction«, Musicae Scientiae Special Issue (1999–2000), S. 93–122.
16 J. Phillips-Silver und L. J. Trainor, »Feeling the beat: Movement influences infants’ rhythm perception«, Science 308 (2005), S. 1430.
17 Gaye Soley und Erin E. Hannon, »Infants prefer the musical meter of their own culture: A cross-cultural comparison«, Developmental Psychology 46/1 (2010), S. 286–92.
18 Barbara Ayres, »Effects of Infant Carrying Practices on Rhythm in Music«, Ethos 1/4 (1973), S. 387–404 (S. 400).
19 Michael Urban, New Orleans Rhythm and Blues after Katrina: Music, Magic and Myth, New York: Palgrave Macmillan, 2016, S. 114–15.
20 Marcel Zentner und Jerome Kagan, »Infants’ perception of consonance and dissonance in music«, Infant Behavior and Development 21/3 (1998), S. 483–92.
21 Erin E. Hannon und Sandra E. Trehub, »Tuning in to musical rhythms: Infants learn more readily than adults«, PNAS 102/35 (2005), S. 12 639–43.
22 Michael Tenzer, Balinese Gamelan Music, Rutland, Vermont: Tuttle Publishing, 2011, S. 38.
23 Aniruddh D. Patel, Music, Language, and the Brain, New York: Oxford University Press, 2008, S. 19.
24 G. A. Miller, »The magical number seven, plus or minus two: some limits on our capacity for processing information«, Psychological Review 63/2 (1956), S. 81–97.
25 Adam Ockelford, Music, Language and Autism: Exceptional Strategies for Exceptional Minds, Philadelphia: Jessica Kingsley Publishers, 2013, S. 183.
26 Ebenda, S. 184.
27 Patel, Music, Language and the Brain, S. 267–8.
28 Pamela Heaton, Rory Allen, Kerry Williams, Omar Cummins und Francesca Happé, »Do social and cognitive deficits curtail musical understanding? Evidence from autism and Down syndrome«, British Journal of Developmental Psychology 26 (2008), S. 171–82 (S. 178).
29 Siehe http://soundsofintent.org/2-uncategorised
30 John Irving, Mozart’s Piano Concertos, London: Routledge, 2003, S. 118.
31 G. E. McPherson, »The role of parents in children’s musical development«, Psychology of Music 37/1 (2009), S. 91–110.
32 Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice, New York: Oxford University Press, 2012, S. 31–4.
33 Robert O. Gjerdingen, Music in the Galant Style, New York: Oxford University Press, 2007, S. 365–8. In Gjerdingens Begriffen ist ein »Eröffnungszug« eine Aussage, die zu einer eleganten Erwiderung anregt. Eine »Romanesca« ist eine schrittweise abfallende Progression (im Bass und in der Melodie). Zu den bekanntesten Beispielen zählt Pachelbels berühmter Canon. Eine »Prinner Riposte« antwortet mit einem melodischen Abstieg von der sechsten auf die dritte Stufe einer Tonleiter. Ein »Indugio« (das italienische Wort für Verzögerung) ist ein spielerisches Verweilen auf einem Akkord. Eine »Ponte« (»Brücke«), ist, wie der Name schon erkennen lässt, eine Brückenpassage.
34 Michele Raja, »Did Mozart suffer from Asperger syndrome?«, Journal of Medical Biography 23/2 (2013), S. 84–92.
35 https://vimeo.com/195606047
36 Peter Pesic, »The Child and the Daemon: Mozart and Deep Play«, 19th-Century Music 25/2–3 (2001–2), S. 91–107.
37 John Blacking, Venda Children’s Songs: A Study in Ethnomusicological Analysis, Chicago: The University of Chicago Press, 1967, S. 29.
38 John Blacking, How Musical is Man?, Washington: University of Washington Press, 1973.
39 Andrea Emberly und Jane Davidson, »From the kraal to the classroom: Shifting musical arts practices from the community to the school with special reference to learning tshigombela in Limpopo, South Africa«, International Journal of Music Education 29/3 (2011), S. 265–82 (S. 226).
40 Eric Hobsbawm und Terence Ranger (Hg.), The Invention of Tradition, Cambridge: Cambridge University Press, 1983.
41 http://www.independent.co.uk/student/student-life/the-strangest-oxford-tradition-of-all-making-sure-the-clocks-go-back-with-the-time-ceremony-8908472.html
42 Sara Cohen, Rock Culture in Liverpool: Popular Music in the Making, Oxford: Clarendon Press, 1991, S. 3.
43 Richard Middleton, Studying Popular Music, Milton Keynes: Open University Press, 1990, S. 161.
44 Linda Spear, The Behavioral Neuroscience of Adolescence, New York: W. W. Norton, 2010.
45 Victor Witter Turner, The Forest of Symbols: Aspects of Ndembu Ritual, Ithaca: Cornell University Press, 1967, S. 181–2.
46 Anthony Seeger, Why Suyá Sing, Urbana: University of Illinois Press, 2004, S. 79. Wie bereits erwähnt, nennen sich die Suyá heute Kisêdjê.
47 Peter Dronke, Women Writers of the Middle Ages, Cambridge: Cambridge University Press, 1984, S. 160.
48 Bruce Holsinger, Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer, Stanford: Stanford University Press, 2001, S. 281.
49 Martha Feldman, The Castrato: Reflections on Natures and Kinds, Berkeley: University of California Press, 2015.
50 Andreas C. Lehmann, John A. Sloboda und Robert H. Woody, Psychology for Musicians: Understanding and Acquiring the Skills, New York: Oxford University Press, 2007, S. 71.
51 John Daverio, Robert Schumann: Herald of a »New Poetic Age«, New York: Oxford University Press, 1997, S. 77.
52 Jeff Todd Titon, Worlds of Music: An Introduction to the Music of the World’s Peoples, Boston: Cengage Learning, 2017, S. 319.
53 Sean Williams, Focus: Irish Traditional Music, London: Routledge, 2010, S. 22.
54 Jeroen de Kloet und Anthony Y. H. Fung, Youth Cultures in China, Cambridge: Polity Press, 2017.
55 Ebenda, Kindle loc. 1596.
56 Arun Saldanha, »Music, Space, Identity: Geographies of Youth Culture in Bangalore«, Cultural Studies 16/3 (2002), S. 337–50.
57 https://www.theguardian.com/music/2012/sep/09/georg-solti-centenary-lady-valerie
58 Howard Gardner, Creating Minds: An Anatomy of Creativity Seen Through the Lives of Freud, Einstein, Picasso, Stravinsky, Eliot, Graham, and Gandhi, New York: Basic Books, 2011, S. 28.
59 Wolfgang Hildesheimer, Mozart, New York: Oxford University Press, 1985; deutsche Ausgabe: Mozart, Berlin: Suhrkamp, 1977; Maynard Solomon, Beethoven, London: Macmillan, 1979.
60 Anton Ehrenzweig, The Hidden Order of Art, Berkeley, Kalifornien: University of California Press, 1971; deutsche Ausgabe: Ordnung im Chaos. Das Unbewusste in der Kunst, München: Kindler, 1967.
61 John Eliot Gardiner, Music in the Castle of Heaven, London: Allen Lane, 2013, S. 168.
62 Ebenda, S. 172–4.
63 Hermann Abert, W. A. Mozart, New Haven: Yale University Press, 2007, S. 562.
64 William Kinderman, Beethoven, Berkeley: University of California Press, 1995, S. 87.
65 Er liest das Märchen »Die Prinzessin« unter https://www.youtube.com/watch?v=EtPcS6sRZ30
66 Joseph Straus, The Music of Ruth Crawford Seeger, Cambridge: Cambridge University Press, 2003.
67 Tom Service, »A Guide to Galina Ustvolskaya’s Music«, https://www.theguardian.com/music/musicblog/2013/apr/08/contemporary-music-guide-galina-ustvolskaya
68 David Wyn Jones, The Life of Beethoven, Cambridge: Cambridge University Press, 1998, S. 36; deutsche Fundstelle: https://brieftext.beethoven.de/henle/letters/b0011.phtml
69 Barry Cooper (Hg.), The Beethoven Compendium: A Guide to Beethoven’s Life and Music, London: Thames and Hudson, 1991, S. 124.
70 Richard Widdess, »Sogasuga: A Song of Songs«, in: Rachel Harris und Rowan Pease (Hg.), Pieces of the Musical World: Sounds and Cultures, London: Routledge, 2015, S. 105–22; Amy Catlin, »Karnatak Vocal and Instrumental Music«, in: Alison Arnold und Bruno Nettl (Hg.), The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent, New York: Taylor and Francis, 2000, S. 209–36.
71 Bruno Nettl, The Study of Ethnomusicology: Thirty-Three Discussions, Chicago: University of Illinois Press, 2015, S. 58.
72 Reginald Massey und Jamila Massey, The Music of India, London: Kahn and Averill, 1993, S. 59. Die Veröffentlichung von Venkatamakhis Klassifikationsschema Chaturdandi Prakasika im Jahre 1660 führte zu einer wahren Explosion neuer Ragas im 18. Jahrhundert.
73 Cohen, Rock Culture in Liverpool: Popular Music in the Making, Oxford: Oxford University Press, 1991, S. 135–71.
74 Walter Everett, The Beatles as Musicians: Revolver through the Anthology, New York: Oxford University Press, 1999, S. 11.
75 Ebenda, S. 10.
76 Tenzer, Balinese Gamelan Music, S. 17.
77 Fabrice Marandola, »Expressiveness in the Performance of Bedzan Pygmies’ Vocal Polyphonies: When the Same is Never the Same«, in: Dorottya Fabian, Renee Timmers und Emery Schubert (Hg.), Expressiveness in Music Performance, New York: Oxford University Press, 2014, S. 201–20.
78 Maya Gratier, »Grounding in musical interaction: Evidence from jazz performance«, Musicae Scientiae Sonderausgabe (2008), S. 71–110.
79 Björn Merker, »Synchronous chorusing and the origins of music«, Musicae Scientiae Sonderausgabe (1999–2000), S. 59–73.
80 Dean Keith Simonton, »Creative productivity, age, and stress: A biographical timeseries analysis of 10 classical composers«, Journal of Personality and Social Psychology 35 (1977), S. 791–804.
81 Sandra Garrido, Why are we Attracted to Sad Music?, Cham: Palgrave Macmillan, 2017, S. 107–8.
82 Arielle Bonneville-Roussy und Jeff Potter, »Music through the Ages: Trends in Musical Engagement and Preferences from Adolescence through Middle Adulthood«, Journal of Personality and Social Psychology 105/4 (2013), S. 703–17 (S. 715).
83 Herbert Bruhn, »Musical Development of Elderly People«, Psychomusicology 18 (2002), S. 59–75 (S. 68).
84 M. Cooke, W. Shum, D. Harrison und J. E. Murfield, »A randomized controlled trial exploring the effect of music on quality of life and depression in older people with dementia«, Journal of Health Psychology 15/5 (2010), S. 765–76.
85 Teppo Särkämö, »Music for the ageing brain: Cognitive, emotional, social, and neural benefits of musical leisure activities in stroke and dementia«, Dementia 16/6 (2018), S. 670–85.
86 http://www.livemusicnow.org.uk/
87 Sandra Garrido, »Music and dementia: Hitting the right note«, Australian Ageing Agenda (Dez. 2016), S. 46–7.
88 Särkämö, »Music for the ageing brain«, S. 677.
89 Joseph Straus, Extraordinary Measures: Disability in Music, New York: Oxford University Press, 2011), S. 82.
90 Gerhard von Breuning, Memories of Beethoven: From the House of the Black-Robed Spaniards, Cambridge: Cambridge University Press, 1995, S. 98; deutsche Ausgabe: Aus dem Schwarzspanierhause, Wien: Rosner, 1874, deutsche Fundstelle: https://www.gedaechtnisdeslandes.at/kunst/action/show/controller/Kunst/werk/joseph-haydn-geburtshaus-in-rohrau.html
91 Kinderman, Beethoven, S. 153.
92 Amit Dias und Vikram Patel, »Closing the treatment gap for dementia in India«, Indian Journal of Psychiatry 51 (2009), S. 93–7.
93 Edward Said, On Late Style: Music and Literature Against the Grain, London: Bloomsbury, 2006; Orientalism: Western Conceptions of the Orient, New York: Pantheon Books, 1978; deutsche Ausgabe: Orientalismus, Frankfurt am Main: Ullstein, 1981.
94 https://www.sputnikmusic.com/review/40918/Buena-Vista-Social-Club-Buena-Vista-Social-Club/
95 Malcolm Gillies, »Bartók in America«, in: Amanda Bayley (Hg.), The Cambridge Companion to Bartók, Cambridge: Cambridge University Press, 2001, S. 190–201 (S. 197).
96 David Cooper, Béla Bartók, New Haven: Yale University Press, 2015, S. 257.
97 David Cooper, Bartók: Concerto for Orchestra, Cambridge: Cambridge University Press, 2004, S. 20.
98 Donald Maurice, Bartók’s Viola Concerto: The Remarkable Story of his Swansong, New York: Oxford University Press, 2004, S. 27.
99 Gillies, »Bartók in America«, S. 195.
100 http://seenandheard-international.com/2017/09/alain-altinoglus-auspicious-debut-with-the-berliner-philharmoniker/
1 The Sound of the Next Generation: A Comprehensive Review of Children and Young People’s Relationship with Music, https://www.youthmusic.org.uk/sound-of-the-next-generation
2 Zitiert in Andy Hamilton, Aesthetics and Music, London: Continuum, 2008, S. 11.
3 Zitiert in Marek Korczynski, Michael Pickering and Emma Robertson, Rhythms of Labour: Music at Work in Britain, Cambridge: Cambridge University Press, 2013, S. 115.
4 Ebenda, S. 116.
5 Ebenda, S. 117.
6 Ebenda, S. 78.
7 Mary-Ann Constantine und Gerald Porter, Fragments and Meaning in Traditional Song: From the Blues to the Baltic, Oxford: Oxford University Press, 2003, S. 150.
8 Marek Korczynski, Songs of the Factory: Pop, Music, Culture, & Resistance, Ithaca: ILR Press, 2014, S. 28.
9 Mark Smith, Listening to Nineteenth-century America, Chapel Hill: The University of North Carolina Press, 2001.
10 Ebenda, S. 23.
11 Zitiert in Peter van der Merwe, Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music, Oxford: Clarendon Press, 1992, S. 69.
12 Korczynski, Songs of the Factory, S. 28.
13 Stan Hugill, Shanties from the Seven Seas, Stonington, Connecticut: Mystic Seaport, 1961, S. 1.
14 Nicola Dibben und Anneli Haake, »Music and the construction of space in office-based work settings«, in: Georgina Born (Hg.), Music, Sound and Space, Cambridge: Cambridge University Press, 2013, S. 151–68.
15 Tia DeNora, Music in Everyday Life, Cambridge: Cambridge University Press, 2000, S. 46.
16 Adam Krims, Music and Urban Geography, London: Routledge, 2007, S. 127–62.
17 DeNora, Music in Everyday Life, S. 118.
18 https://www.theguardian.com/technology/2015/feb/13/spotify-knows-what-music-youre-having-sex-to
19 https://moz.com/blog/google-told-me-im-pregnant-from-strings-to-diagnosis
20 John Sloboda, Exploring the Musical Mind: Cognition, Emotion, Ability, Function, Oxford: Oxford University Press, 2005, S. 348.
21 http://www.classicfm.com/discover-music/mood/relaxing/
22 Krims, Music and Urban Geography, S. 144.
23 https://www.visitliverpool.com/information/product-catch-all/bold-street-p16794
24 Michael Bull, Sound Moves: iPod Culture and Urban Experience, London: Routledge, 2008, S. 6.
25 Brandon LaBelle, Acoustic Territories: Sound Culture and Everyday Life, London: Bloomsbury, 2014, S. 99.
26 Krims, Music and Urban Geography, S. 80.
27 Ebenda, S. 1–3.
28 DeNora, Music in Everyday Life, S. 136.
29 Ebenda, S. 137.
30 Adrian North und David Hargreaves, The Social and Applied Psychology of Music, New York: Oxford University Press, 2008, S. 280.
31 LaBelle, Acoustic Territories, S. 174.
32 Sara Cohen, Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles, Aldershot: Ashgate, 2007, S. 56–62.
33 Michael Brocken, Other Voices: Hidden Histories of Liverpool’s Popular Music Scenes, 1930s–1970s, London: Routledge, 2016, S. 112.
34 Hugill, Shanties, S. 53.
35 Jeremy Price, »›From Nelly Ray to Maggie May‹: Re-enacting the Past on the Streets of Liverpool«, in: Logie Barrow und François Poirier (Hg.), Keeping the Lid on: Urban Eruptions and Social Control since the 19th Century, Newcastle: Cambridge Scholars Publishing, 2010, S. 77–92.
36 https://www.youtube.com/watch?v=2wnhkicl3Z8
37 Price, »›From Nelly Ray to Maggie May‹«, S. 77.
38 Zitiert in Margot Fassler, Gothic Song, Indiana: University of Notre Dame Press, 2011, S. 217.
39 Zitiert in Paul du Noyer, Liverpool – Wondrous Place: From the Cavern to the Capital of Culture, London: Virgin Books, 2007, S. 1.
40 »The World’s Cities in 2016«, United Nations Data Booklet, http://www.un.org/en/development/desa/population/publications/pdf/urbanization/the_worlds_cities_in_2016_data_booklet.pdf
41 Ruth Finnegan, The Hidden Musicians: Music-Making in an English Town, Middletown: Wesleyan University Press, 2007.
42 Der folgende Abschnitt fußt auf Nicholas Wongs brillanter Doktorarbeit »The Rushworths of Liverpool: A Family Music Business. Commerce, Culture and the City«, University of Liverpool, 2016, sowie von zahlreichen Gesprächen mit Jonathan Rushworth, der Nicks Recherchen großzügig unterstützte.
43 Sara Cohen, Rock Culture in Liverpool: Popular Music in the Making, Oxford: Oxford University Press, 1991.
44 Wong, »The Rushworths«, S. 162.
45 Ebenda, S. 129.
46 Zitiert in David Bruenger, Making Money, Making Music: History and Core Concepts, Berkeley: University of California Press, 2016, S. 87.
47 Wong, »The Rushworths«, S. 163.
48 Barbara Kowalzig, »›And Now All the World Shall Dance!‹ (Eur. Bacch. 114): Dionysus’ Choroi between Drama and Ritual«, in: Eric Csapo und Margaret Miller (Hg.), The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama, Cambridge: Cambridge University Press, 2007, S. 221–54.
49 https://punch.photoshelter.com/image/I0000KP5hOcqgW4E
50 David Hesmondhalgh, Why Music Matters, Oxford: Wiley, 2013, S. 106.
51 https://www.liverpoolecho.co.uk/sport/football/football-news/new-mohamed-salah-ill-muslim-14302028
52 Les Back, »Sounds in the Crowd«, in: Michael Bull und Les Back (Hg.), The Auditory Culture Reader, Oxford: Berg, 2004, S. 311–28 (S. 321).
53 Thomas Turino, Music as Social Life: The Politics of Participation, Chicago: The University of Chicago Press, 2008, S. 29.
54 Jim O’Donnell, The Day John Met Paul: An Hour-by-Hour Account of How the Beatles Began, London: Routledge, 2006.
55 George Orwell, The Lion and the Unicorn: Socialism and the English Genius, London: Penguin, 1941, S. 11.
56 Jez Quayle, Skiffle Ukelele Songbook, Lulu.com, 2018, S. 1.
57 Brocken, Other Voices, London: Routledge, 2016, S. 20.
58 Jack Hamilton, Just Around Midnight: Rock and Roll and the Racial Imagination, Cambridge, Mass.: Harvard University Press, 2016, S. 109.
59 Barry Miles, The Beatles Diary Volume 1: The Beatles Years, New York: Omnibus Press, 2009.
60 Turino, Music as Social Life, S. 36–51.
61 Walter Everett, The Beatles as Musicians: The Quarry Men through Rubber Soul, New York: Oxford University Press, 2001, S. 131–5.
62 https://www.youtube.com/watch?v=b-VAxGJdJeQ
63 Jacqueline Edmondson, John Lennon: A Biography, Oxford: Greenwood, 2010, S. 58–9.
64 Walter Everett, The Beatles as Musicians: Revolver Through the Anthology, New York: Oxford University Press, 1999, S. 36–7.
65 Ebenda, S. 118–19.
66 https://www.youtube.com/watch?v=KvuiiqS4s2s
67 http://www.bbc.co.uk/news/world-latin-america-40090809
68 Bruce Johnson und Martin Cloonan, »Music and Arousal to Violence«, in: Bruce Johnson und Martin Cloonan (Hg.), The Dark Side of the Tune: Popular Music and Violence, Aldershot: Ashgate, 2009, S. 123–46 (S. 152).
69 Ebenda, S. 152.
70 John Baxter, Disney During World War II: How the Walt Disney Studio Contributed to Victory in the War, Glendale: Disney Editions, 2014.
71 Michael Sorkin, All Over the Map: Writings on Buildings and Cities, London: Verso, 2011, S. 347.
72 Clayton Koppes, »The Real Ambassadors? The Cleveland Orchestra Tours and the Soviet Union, 1965«, in: Simo Mikkonen und Pekka Suutari (Hg.), Music, Art and Diplomacy: East–West Cultural Interactions and the Cold War, London: Routledge, 2016, S. 69–87 (S. 84).
73 Emily Abrams Ansari, »Shaping the Policies of Cold War Musical Diplomacy: An Epistemic Community of American Composers«, Diplomatic History 36/1 (2012), S. 41–52 (S. 41).
74 Jessica Gienow-Hecht, »The World is Ready to Listen: Symphony Orchestras and the Global Performance of America«, Diplomatic History 36/1 (2012), S. 17–28 (S. 24).
75 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism, London: Verso, 1983.
76 Thomas Solomon, »Articulating the historical moment: Turkey, Europe, and Eurovision 2003«, in: Ivan Raykoff und Robert Deam Tobin (Hg.), A Song for Europe: Popular Music and Politics in the Eurovision Song Contest, London: Routledge, 2016, S. 135–46.
77 http://www.liverpoolphil.com/in-harmony-liverpool
78 »The Index of Multiple Deprivation 2015: A Liverpool Analysis«, Executive Summary, Liverpool City Council.
79 https://www.telegraph.co.uk/culture/music/3667396/BBC-Proms-review-Was-this-the-greatest-Prom-of-all-time.html
80 Zitiert in Geoffrey Baker, El Sistema: Orchestrating Venezuela’s Youth, New York: Oxford University Press, 2014, S. 3.
81 Tina Ramnarine (Hg.), Global Perspectives on Orchestras: Collective Creativity and Social Agency, New York: Oxford University Press, 2017.
82 Baker, El Sistema.
83 https://www.theguardian.com/music/2014/nov/11/geoff-baker-el-sistema-model-of-tyranny
84 »Evaluation of In Harmony: Final Report«, National Foundation for Educational Research (NFER), S. 49.
85 Jude Robinson, »The End is Where We Start From: Communicating the Impact of a Family Music Project to Wider Audiences«, Anthropology in Action (2014), 21/3, S. 12–19.
86 Mark Everist, Mozart’s Ghosts: Haunting the Halls of Musical Culture, New York: Oxford University Press, 2012, S. 269–76.
87 Kingsley Amis, Girl, 20, London: Penguin, 2011 [1971].
88 Amy Nelson, Music for the Revolution: Musicians and Power in Early Soviet Russia, Pennsylvania: The University of Pennsylvania Press, 2004; H. Seifter und S. Economy, Leadership ensemble: Lessons in collaborative management from the world’s only conductorless orchestra, New York: Henry Holt & Company.
89 Isabella Poggi, »The Lexicon of the Conductor’s Face«, in: Paul McKevitt, Seán Ó Nualláin und Conn Mulvihill (Hg.), Language, Vision, and Music, Amsterdam: John Benjamins Publishing Company, 2002, S. 271–84.
90 Geoff Luck und Petri Toiviainen, »Ensemble Musicians’ Synchronization with Conductors’ Gestures: An Automated Feature-Extraction Analysis«, Music Perception 24/2 (2006), S. 189–200.
91 Peter Keller, »Ensemble Performance: Interpersonal Alignment of Musical Expression«, in: Dorottya Fabian, Renee Timmers und Emery Schubert (Hg.), Expressiveness in Music Performance, New York: Oxford University Press, 2014, S. 260–82 (S. 266).
92 Gilbert Rouget, Music and Trance: A Theory of the Relations Between Music and Possession, Chicago: The University of Chicago Press, 1985.
93 Rouget war sich bewusst, dass die Begriffe »Trance« und »Ekstase« im Englischen genau umgekehrt definiert werden (siehe die französische Originalausgabe). Siehe Ruth Herbert, »Reconsidering Music and Trance: Cross-cultural Differences and Cross-disciplinary Perspectives«, Ethnomusicology Forum 20/2 (2011), S. 201–27.
94 Wendy Fonarow, Empire of Dirt: The Aesthetics and Rituals of British Indie Music, Middletown, Connecticut: Wesleyan University Press, 2006, S. 55.
95 Michael S. Steinberg, Listening to Reason: Culture, Subjectivity, and Nineteenth-Century Music, Princeton: Princeton University Press, 2004, S. 106.
96 Marc Leman, Embodied Music Cognition and Mediation Technology, Cambridge, Mass.: 2008, S. 108.
97 Martin Clayton, »Observing Entrainment in Music Performance: Video-Based Observational Analysis of Indian Musicians« Tanpura Playing und Beat Marking«, Musicae Scientiae 11/1 (2007), S. 27–59.
98 https://musicscience.net/2018/03/10/inside-a-string-quartet/
99 Mari Riess Jones und Marilyn Boltz, »Dynamic Attending Responses to Time«, Psychological Review 96/3 (1989), S. 459–91 (S. 471).
100 Albert S. Bregman, Auditory Scene Analysis: The Perceptual Organization of Sound, MIT, Massachusetts: MIT Press, 1990.
101 Riess Jones und Boltz, »Dynamic Attending Responses to Time«, S. 471.
102 Melanie Takahashi, »The ›natural high‹: altered states, flashbacks and neural tunings at raves«, in Graham St. John, Rave Culture and Religion, London: Routledge, 2005, S. 144–64 (S. 153).
103 T. S. Eliot, The Four Quartets, London: Faber & Faber, 2001; deutsche Ausgabe: Vier Quartette, Berlin: Suhrkamp, 2015.
1 Brian Kane, Sound Unseen: Acousmatic Sound in Theory and Practice, New York: Oxford University Press, 2014, S. 55.
2 Abbé Jean-Baptiste Dubos, Réflexions critiques sur la poésie et sur la peinture, Paris, 1993; Erstveröffentlichung 1719, S. 150.
3 Eduard Hanslick, On the Musically Beautiful: A Contribution Towards the Revision of the Aesthetics of Music, übers. von Geoffrey Payzant, Indianapolis: Hackett Publishing Company, 1986; Erstveröffentlichung 1854, S. 8.
4 Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Clarendon Press, 1992.
5 Die vierte Stufe (4:3) ist akustisch einfacher als die dritte, wird aber aus komplexen kulturellen Gründen als weniger befriedigend oder konsonant empfunden.
6 Wendy Leborgne und Marci Rosenberg, The Vocal Athlete, San Diego: Plural Publishing, 2014, S. 104.
7 Zohar Eitan und Roni Granot, »How music moves: Musical parameters and listeners’ images of motion«, Music Perception 23/3 (2006), S. 221–47.
8 Y. S. Wagner, E. Winner, D. Cicchetti und H. Gardner, »›Metaphorical‹ mapping in human infants«, Child Development 52 (1981), S. 728–31.
9 S. K. Roffler und R. A. Butler, »Localization of tonal stimuli in the vertical plane«, Journal of the Acoustical Society of America 43 (1968), S. 1260–5.
10 Lawrence Zbikowski, Conceptualizing Music: Cognitive Structure, Theory, and Analysis, New York: Oxford University Press, 2002, S. 67.
11 Steven Feld, Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression, Philadelphia: University of Pennsylvania Press, 1982.
12 Rebecca Shaefer, Alexa Morcom, Neil Roberts und Katie Overy, »Moving to music: effects of heard and imagined musical cues on movement-related brain activity«, Frontiers in Human Neuroscience 8 (2014), S. 1–11.
13 Charles Nussbaum, The Musical Representation: Meaning, Ontology, and Emotion, Cambridge, Mass.: MIT Press, 2007, S. 52.
14 Richard Fay (Hg.), Comparative Hearing: Fish and Amphibians, New York: Springer Verlag, 1999, S. 349.
15 Daniel Chiras, Human Biology, New York: Jones and Bartlett Publishing, 2005, S. 210.
16 Nussbaum, The Musical Representation, S. 59–60.
17 Ebenda, S. 52.
18 Ebenda, S. 59.
19 Ludwig Wittgenstein, Philosophical Investigations, Oxford: Blackwell, 1960, S. 213 (deutsche Ausgabe: Philosophische Untersuchungen, Frankfurt: Wissenschaftliche Buchgesellschaft, 2001).
20 Arnie Cox, Music and Embodied Cognition: Listening, Moving, Feeling, and Thinking, Bloomington: Indiana University Press, 2016.
21 Roger Scruton, The Aesthetics of Music, New York: Oxford University Press, 1999, S. 49–52.
22 Marc Leman, The Expressive Moment: How Interaction (with Music) Shapes Human Empowerment, Cambridge, Mass.: MIT Press, 2016, S. 185.
23 Robert Zatorre und Valerie Salimpoor, »From perception to pleasure: music and its neural substrates«, Proceedings of the National Academy of Science, 110/2 (2013), S. 10430–7.
24 Leonard B. Meyer, Emotion and Meaning in Music, Chicago: University of Chicago Press, 1956.
25 David Huron, Sweet Anticipation: Music and the Psychology of Expectation, Cambridge, Mass.: MIT Press, 2006, S. 23.
26 https://www.youtube.com/watch?v=RxPZh4AnWyk.
27 Dave Calvert, »›Actual Idiocy‹ and the Sublime Object of Susan Boyle«, in: Broderick Chow und Alex Mangold (Hg.), Zizek and Performance, London: Palgrave Macmillan, 2014, S. 178–96.
28 Aniruddh Patel und John Iversen, »The evolutionary neuroscience of musical beat perception and the Action Simulation for Auditory Prediction (ASAP) hypothesis«, Frontiers in Systems Neuroscience 8 (2014), S. 1–14.
29 H. Honing, H. Merchant, G. Háden, L. Prado und R. Bartolo, »Rhesus monkeys (Macaca mulatta) detect rhythmic groups in music, but not the beat«, PLoS ONE, 7/12 e51369, https://doi.org/10.1371/journal.pone.0051369
30 Charles Darwin, The Expression of the Emotions in Man and Animals [1872], definitive Ausgabe, New York: Harper Perennial, 2009.
31 Ebenda, S. 43.
32 Ebenda, S. 44.
33 Jenefer Robinson, Deeper than Reason: Emotion and its Role in Literature, Music, and Art, Oxford: Clarendon Press, 2005, S. 59.
34 https://www.youtube.com/watch?v=hxbHhzlpdK4
35 Keith Oatley, Dacher Keltner und Jennifer Jenkins, Understanding Emotions, Oxford: Blackwell Publishing, 2006.
36 Nico Frijda, The Emotions, Cambridge: Cambridge University Press, 1986, S. 71.
37 https://www.telegraph.co.uk/music/what-to-listen-to/best-funeral-songs/albinoni/
38 https://www.wsj.com/articles/SB10001424052970203646004577213010291701378
39 Galen Bodenhausen, »Categorizing the Social World: Affect, Motivation, and Self-Regulation«, in: B. H. Ross und A. B. Markman (Hg.), Psychology of Learning and Motivation, 47 (2006), S. 123–55.
40 Steve Larson, Musical Forces: Motion, Metaphor, and Meaning in Music, Bloomington: Indiana University Press, 2012, S. 149.
41 Nicola Dibben, »The Role of Peripheral Feedback in Emotional Experience with Music«, Music Perception 22/1 (2004), S. 79–115.
42 Theodor Adorno, Philosophy of Modern Music, übers. von A. G. Mitchell und W. V. Bloomster, London: Sheed & Ward, 1987 (deutsche Ausgabe: Theodor W. Adorno: Philosophie der neuen Musik, Tübingen: J. C. B. Mohr, 1949).
43 Charles Rosen, The Classical Style, New York: Norton, 1971.
44 James Russell, »A Circumplex Model of Affect«, Journal of Personality and Social Psychology 39/6 (1980), S. 1161–78.
45 Patrik Juslin, »Emotional Communication in Music Performance: A Functionalist Perspective and Some Data«, Music Perception: An Interdisciplinary Journal 14/4 (1997), S. 383–418.
46 http://www2.cnrs.fr/en/2751.htm
47 Michael Spitzer, »Mapping the Human Heart: A Holistic Analysis of Fear in Schubert«, Music Analysis 29/1, 2, 3 (2011), S. 149–213.
48 Arne Öhman und Stefan Wiens, »On the automaticity of autonomic responses in emotion: An evolutionary perspective«, in: Richard Davidson, Klaus Scherer und Hill Goldsmith (Hg.), Handbook of Affective Sciences, Oxford: Oxford University Press, 2003, S. 256–75.
49 Vladimir Propp, Morphology of the Folktale, übers. von Laurence Scott, Austin: University of Texas Press, 1968.
50 Charles Darwin, The Voyage of the Beagle [Erstveröffentlichung 1839], New York: Cosmo Classics, 2008, S. 211.
51 Zitiert in Michael Taussig, Mimesis and Alterity: A Particular History of the Senses, New York: Routledge, 1993.
52 Ebenda.
53 Ebenda. Siehe auch Walter Benjamin, »On the Mimetic Faculty«, in: Rodney Livingstone (Hg.), Walter Benjamin: Selected Writings Volume 2 1931–1934Über das mimetische VermögenGesammelte Schriften