Bauhaus-Universität Weimar

180 
Psychology of Music 
tions and tendencies toward affective response are increased and 
intensified by the pursuit of a person’s fortes. Thus, a musician 
who is of the tonal type develops more and more power of discrimi¬ 
nation, a richer storehouse of experience, and, therefore, stronger 
affective reactions in music in which melody and harmony, with 
their vast array of variants, play the dominant role; whereas one 
whose forte is in the temporal field enriches his opportunities for 
feeling dominantly in that aspect of music. 
CHARACTERIZED BY INTELLIGENCE 
AND MOTOR SKILLS 
The limits and characteristics of the affective life of a musician 
are set largely by the limits of his intelligence or natural aptness in 
motor skills. What a person shall like or dislike depends upon the 
degree of comprehension that he has. This is not peculiar to music; 
it is true of mathematics, literature, and science. There are very 
few who can develop genuine enthusiasm for Einstein’s mathe¬ 
matics. The limits of affective life are determined also by the 
natural capacity for developing motor skills, as in instrumental 
performance or mastery of voice. 
TRANSFER TO OTHER SITUATIONS 
Since the business of the musician is to produce, to create the 
beautiful, he is always beauty-conscious, or, the reciprocal, ugly- 
conscious. This attitude of expressiveness transfers, so that the 
musician is perhaps more likely than others to be beauty-conscious 
or beauty-expressive in relation to all other things in life, such as 
food, dress, and other comforts. One of the results of this is the 
tendency to develop irritability and oversensitiveness to all sorts 
of situations. The experimental work dealing with such problems is 
extensive but, on the whole, slushy and unsatisfactory. While it may 
be interesting to know what we like or dislike, such inquiries do 
not satisfy scientific curiosity. In Chap. 3, we laid down the 
criteria of scientific experiments in music. If we apply these to the 
semiscientific and so-called practical material in current publica¬ 
tions on musical feeling, very little will stand the fire test. 
Terms expressive of feeling are dealt with in numerous parts of 
this book. As far as we know, the analysis of feeling for beauty and 
the expression of beauty in the vibrato represent scientific proce¬ 
dure of the type we must look forward to and follow in the future.
        

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