The poetical concert community. Taste and performance of the middle class concert audience 1815-1848

诗意的音乐会社区。

• 批准号: 262790338
• 负责人: Professor Dr. Wolfram Pyta
• 金额: --
• 依托单位: Abteilung Neuere Geschichte
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2014
• 资助国家: 德国
• 起止时间: 2013-12-31 至 2017-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/262790338?language=en
• 关键词: poetical; concert; community.; Taste; performance

In the course of the first half of the 19th century the audience in opera and classical concerts has fundamentally changed its taste as well as its attitude and behaviour (performance) towards music. Particularly the middle class established a silent audience and a new aesthetic paradigm in musical life. Relating to theoretic considerations and the realization of ideal requirements given by the musical art, which is formed by the romantic aesthetics of music that writers and critics have enunciated since 1800, the study intends to focus on the audience itself in order to analyse its original taste as well as its attitude and behaviour towards music. Taste is considered as an aesthetic distinction. Therefore, the study wants to analyse how music becomes a central category of taste, and by what middle class constitutes itself as an idiosyncratic community. The sources consist of comments given by professional performers like e.g. conductors, artists, organizers and critics. Thus, above all, the study has to examine ego documents and self-testimonies. The study focuses on papers from the most important German-speaking musical centres such as Berlin, Dresden, Leipzig, Munich, and Vienna from 1815 to 1848.

在世纪上半叶，歌剧和古典音乐会的观众已经从根本上改变了他们对音乐的品味、态度和行为（表演）。特别是中产阶级在音乐生活中建立了一个沉默的观众和一个新的审美范式。本文从1800年以来文学家和批评家们所阐述的浪漫主义音乐美学所形成的音乐艺术的理论思考和理想要求的实现出发，着眼于受众本身，分析受众的原始审美情趣及其对音乐的态度和行为。品味被认为是一种美学上的区别。因此，本研究试图分析音乐如何成为一种核心的品味类别，以及中产阶级如何将自己构成一个特殊的社区。这些来源包括专业表演者的评论，例如指挥家，艺术家，组织者和评论家。因此，最重要的是，这项研究必须审查自我文件和自我证词。研究的重点是从最重要的德语音乐中心，如柏林，德累斯顿，莱比锡，慕尼黑，和维也纳从1815年至1848年的文件。