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

在19世纪上半叶的过程中，歌剧和古典音乐会的观众从根本上改变了他们的品味，以及他们对音乐的态度和行为（表演）。特别是中产阶级在音乐生活中建立了沉默的听众和新的审美范式。关于音乐艺术的理论考虑和理想要求的实现，这是由1800年以来作家和评论家所阐述的浪漫主义音乐美学所形成的，本研究打算把重点放在听众本身，以分析其原始品味以及对音乐的态度和行为。品味被认为是一种审美上的区别。因此，这项研究想要分析音乐是如何成为品味的中心类别的，以及中产阶级是如何将自己构成一个特殊的群体的。这些来源包括专业表演者如指挥家、艺术家、组织者和评论家的评论。因此，最重要的是，研究必须检查自我文件和自我见证。这项研究的重点是来自最重要的德语音乐中心的论文，如柏林、德累斯顿、莱比锡、慕尼黑和维也纳，从1815年到1848年。

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.