Musical Practice

自從高達美的大作《真理與方法》一書在1960年問世之後，「詮釋學」這一門「理解的藝術」在整個人文科學界產生重大的影響。自此「理解」與「詮釋」成為人文科學的重要構成要素以及思考基礎。假若吾人從人文科學的角度來探究音樂現象的話，音樂研究自然也不能自外於詮釋學的思考。然而關於音樂的詮釋學研究，並不是在《真理與方法》出版之後，而是在十九世紀就已經展開了。本文嘗試在今日的詮釋學思考之下重新檢視音樂詮釋學的現實性與發展性。本文的第一部份先探討詮釋學在西方文化的發展及其問題意識，第二部份則是討論音樂詮釋學的出現及其在近年的發展。第三部份將以高達美的哲學詮釋學為中心，進一步提出音樂詮釋學的精神以及任務。
Hermeneutics, the “art of understanding”, has greatly influenced the whole field of human sciences since the magnum opus Truth and Method by Hans-Georg Gadamer was published in 1960. Since then “understanding” and “interpretation” have become essential constituents and the basis of thought for human sciences. If people see musical research as a branch of human sciences, it, of course, can’t be separate from the idea of hermeneutics. Hermeneutic inquiry into music, however, did not begin after the emergence of Truth and Method, but in the nineteenth century already. This paper tries to re-examine the actuality and development of musical hermeneutics under the hermeneutic thinking nowadays. The first part of this paper will discuss the development and theses of hermeneutics in the western culture. The second part will investigate the emergence of musical hermeneutics and its development in the recent decades. In the third part the spirit and mission of musical hermeneutics will be indicated based on Gadamer’s philosophical hermeneutics.

In ethnomusicology, the concept of bi-musicality or multi-musicality, introduced by Mantle Hood in 1960, describes the ability to articulate in several musical languages and styles. The 16-months research project “Bi-/Multimusicality” considers the University of Music and Performing Arts Vienna (in short: mdw) today as a social entity and space for students, teachers and individuals from different backgrounds, musical socialization and cultural values. It is able to get details about development of individual’s musical self-conceptions, associated environment and expertise by conducting semi-structured interviews and fieldwork with fifteen selected interview partners. The aims of this project are to analyse and understand different facets of bi- or multi-musicality, as well as to present the results at the mdw’s 200th anniversary celebration. This can bring new aspects and arguments for supporting the future development of curricula in order to meet the requirements in “real” life after the studies at mdw.

This concept of bi-musicality or multi-musicality has raised controversial discussions during the last decades. An overview about these theoretical debates is discussed in this report. On the other hand, the following questions will be addressed as well: Since terms such as musical language, genre or style are basic criteria for defining if an individual is bi- or multimusical, how to differ these terms from each other?  Why and how can a professional musician become bi-/multi-musical, and how can this process be defined? What is the relationship between bi-/multi-musical ability and an individual’s musical self-conception, and what kinds of factors are essential for it? These issues are discussed in this final report.

O recurso à imprensa escrita, especializada ou generalista, como fonte primária tem-se revelado um recurso fundamental para os estudos musicológicos, quer como veículo de informação sobre diferentes domínios da vida musical de múltiplas comunidades em distintos âmbitos cronológicos e geográficos, quer como um elemento-chave a ter em conta na análise das representações sociais e culturais da música e na mediação entre os elementos que interagem na prática musical. O presente volume é constituído por uma selecção de artigos da autoria de investigadores portugueses e espanhóis, resultantes de comunicações apresentadas no congresso internacional "A Imprensa como Fonte para a História da Interpretação Musical", organizado pelo grupo de trabalho Música y Prensa da SEdeM – Sociedade Espanhola de Musicologia e pelo grupo de investigação Estudos Históricos e Culturais em Música do INET-md (NOVA FCSH) e acolhido pela Biblioteca Nacional de Portugal. Com um enfoque privilegiado nos discursos sobre a interpretação musical, sem prejuízo de outras abordagens complementares, parte de uma grande variedade de material forne­cido pela imprensa periódica do século xix e das primeiras décadas do século xx (críticas, notícias, anúncios, programas de concertos, ensaios, fotografias, caricaturas, partituras) para tratar temáticas tão diversas como a figura do virtuoso, o músico como celebridade, o corpo do intérprete e as questões de género, programação, repertórios e correntes in­terpretativas, as relações entre profissionais e diletantes, perfis críticos e a imprensa como difusora de material destinado à prática musical propriamente dita.

Many studies to the topic ”instrumental practising” just refer to the professional range or to highly talented adolescents. In the everyday practise of either private or public music schools, usually most students are talented and motivated on an average. For whom other standards possess validity. The aim of the study on hand should be to verify the success of purposeful practising instructions for adolescent instrumental students to improve the recommendations for the instrumental education. The following hypothesis forms the basis: Let’s assume purposeful practising strategies as well as the practising behaviour in instrumental practise improve the learning efficiency. That would mean a group that practises with purposeful strategies would gain a better learning efficiency than groups that practise either without or with no appropriate instructions, although all groups work with the same learning matter and in the same practising time. Likewise it is to investigate how strongly th...

Esta tese de foca  a centralidade da música nas práticas espirituais do Movimento Hare Krishna em Lisboa. Caracterizo os devotos Hare Krishna que participam regularmente nas atividades do templo de Lisboa, destacando as suas trajetórias migratórias e o espaço do templo como um lugar de sociabilidade, de apoio e de adaptação à sociedade de acolhimento. Traço a origem do Movimento Hare Krishna nos Estados Unidos e sua introdução em Portugal, apontando as condições políticas e sociais de uma juventude que buscava novos estilos de vida. Relaciono os ciclos de entrada de imigrantes em Portugal com o desenvolvimento do Movimento Hare Krishna no país, enfatizando o papel das práticas espirituais no convívio de um grupo de migrantes na sociedade de acolhimento. Analiso o modo como as práticas espirituais Hare Krishna levadas a cabo por uma maioria de migrantes de países como Brasil, Rússia, Moçambique, Índia e Nepal, entre outros, são usadas como uma ferramenta para criar novos grupos sociais, para reviver memórias de sua sociedade de origem e ocupar o espaço público da cidade. Destaco uma mudança nas estratégias de propagação do Movimento Hare Krishna em Lisboa, demonstrando como, através da música, os devotos buscam associar a imagem do Movimento a uma prática cultural, na tentativa de integrarem a "diversidade" das atividades culturais numa Lisboa cada vez mais turistificada.
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SPIRITUAL AND EXPRESSIVE PRACTICES IN A MIGRATORY CONTEXT: AN ETHNOGRAPHY OF THE HARE KRISHNA MOVEMENT AT THE CITY OF LISBON

This PhD thesis focuses on the centrality of music in the spiritual practices of the Hare Krishna Movement in Lisbon. I characterize the Hare Krishna devotees who regularly participate in the activities of the Lisbon temple. I also highlight their different migratory paths, the space of the temple as a place of sociability, support and adaptation to the host society. I trace the origin of the Hare Krishna Movement in the United States and its introduction in Portugal, pointing out the political and social conditions of a youth who sought new lifestyles. I relate the migratory cycles to Portugal with the development of the Hare Krishna movement in the country, emphasizing the role of spiritual practices in the conviviality of a group of migrants in the host society. I analyze the ways in which the spiritual practices of the Hare Krishna carried out by a majority of migrants from countries such as Brazil, Russia, Mozambique, India and Nepal, among others, are used as a tool to create new social groups, to revive memories of their society of origin and to ocupy public space in the city. I point out a change in the propagation strategies of the Hare Krishna Movement in Lisbon, demonstrating how through music, the devotees seek to associate the movement's image to a cultural practice, in an attempt to integrate the "diversity" of cultural activities in a increasingly turistified Lisbon.

The present study examines the prevalence, localization, frequency, and intensity of playing-related pain (PRP) in a sample of high-performing young musicians. We also address coping behavior and communication about PRP between young musicians, teachers, parents, and other people, such as friends. The aim is to provide information on PRP among high-performing musicians in childhood and adolescence, which can serve as a basis for music education, practice, and prevention in the context of instrumental teaching and musicians' health. The study is part of a large-scale study (N = 1,143) with highly musically gifted participants (age 9-24 years; M = 15.1; SD = 2.14, female = 62%) at the national level of the "Jugend musiziert" (youth making music) contest. For data analyses, we used descriptive statistics, correlations, Chi 2-tests, principal component analysis, Kruskal-Wallis H tests, and multivariate regression. About three-quarters (76%) of the surveyed participants stated that they had experienced pain during or after playing their instrument. Female musicians were significantly more frequently affected (79%) than male musicians (71%). With increasing age, the prevalence of PRP rises from 71 percent (9-13 years) to 85 percent (18-24 years). Regarding localization of pain, results are in line with many other studies with musculoskeletal problems the most common. Furthermore, data show a clear relationship between the duration of practice and the prevalence of PRP. Our study found averages of 7:18 h/week, whereas mean values of the duration of practice vary considerably between different instruments. The variance in practice duration is very large within the different instruments. Thus, when researching PRP, it is necessary to consider both the differences between different groups of instruments in the average duration of practice as well as the very large inter-individual variation in the duration of practice within a given instrument group. While just over half of the young musicians (56%) felt they had been taken seriously, 32 percent felt that their complaints were not completely taken seriously, and 12 percent did not feel taken seriously at all. Therefore, it is necessary to improve communication and information about PRP to prevent PRP and counteract existing complaints.

In der Musikwissenschaft stellt das Übeverhalten ein wichtiges Forschungsgebiet dar, mitunter auch im Zusammenhang mit Persönlichkeitsfaktoren (vgl. u.a.: Brown 1928; Ross 1985; Rosenthai et al. 1988; Miksza 2006; Harnischmacher 1993; Wissner 2010) oder dem Flow-Erleben, als potentiell das Üben fördernde Komponente (vgl. u.a.: Sillmann 2008; Hechinger 2010; Polat 2013). Die überwiegende Anzahl der Untersuchungen beschäftigt sich mit Instrumentalisten, Sänger werden bislang nur in unzureichendem Maße betrachtet. Somit weist dieses Gebiet einen erheblichen Forschungsbedarf auf. Ziel der vorliegenden explorativen Studie ist die Erforschung des Übeverhaltens, Flow-Erlebens und der Persönlichkeitsdimensionen von Sängern. Folgende Forschungsfragen bilden die Grundlage der Untersuchung: 1. Unterscheiden sich Gesangsschüler verschiedener Gesangskategorien bezüglich der Wahrscheinlichkeit einer Flow-Erfahrung? 2. Hat das häufigere Auftreten eines Flow-Erlebnisses etwas mit dem Alter der jeweiligen Personen zu tun? 3. Haben extravertierte Sänger ein stärkeres Flow-Erleben beim Üben? 4. Wie stark ist ein etwaiger Zusammenhang von Persönlichkeitsmerkmalen und Motivation beim Üben von Gesangsschülern? 5. Spielen Übemethoden in Bezug auf Flow-Erleben eine Rolle?

Hintergrund: Viele Studien zum Thema "instrumentales Üben" beziehen sich lediglich auf den professionellen Bereich oder auf hochtalentierte Jugendliche. In der alltäglichen Praxis der privaten und öffentlichen Musikschulen indes hat man es in der Regel mit durchschnittlich begabten und motivierten Schülern zu tun, für die ganz andere Maßstäbe Gültigkeit besitzen. Z i e I und Fra g es tell u n g : Ziel der vorliegenden Studie sollte es sein, den Erfolg von gezielten Übeinstruktionen bei jugendlichen Instrumentalschülern zu überprüfen, um dadurch bessere Empfehlungen für den Instrumentalunterricht geben zu können. Folgende Hypothese liegt zugrunde: Angenommen, dass gezielte Übestrategien sowie das Übeverhalten beim instrumentalen Üben die Lernleistung verbessern, dann müsste eine Gruppe, die mit gezielten Strategien übt, bei gleichem Lernstoff und gleicher Übezeit, die besseren Lernleistungen gegenüber Gruppen zeigen, die ohne oder mit inadäquaten Instruktionen üben. Zu erfo...

In 2017, we started a large scale study on the national level participants of the annual music contest "Jugend musiziert", covering a broad range of topics, including the socio-cultural background, development and learning, performance practice, motivation, health aspects etc. We used a standardized paper-pencil questionnaire (18 pages), which was administered to approx. 2,260 participants. A total of 1,143 valid questionnaires was returned (age 9 to 24; M = 15; SD = 2.1, female = 62%). This paper examines the young musicians’ instrumental careers and practice behaviors in the context of music and media related as well as other leisure activities.