![]() We have further developed our passion for music since the invention of music recording, broadcasting, and playback techniques and even more so since music has become portable and digital and thus all-available ( O’Hara and Brown, 2006 Gopinath and Stanyek, 2014). We see it as a fitting accompaniment to virtually every situation – using it for a plethora of purposes – and an activity that we engage in daily ( Merriam, 1964 DeNora, 2000 Schäfer et al., 2013). Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert. ![]() Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. Performing and listening to music occurs in specific situations, requiring specific media. 6Department of Applied Musicology, Gustav Mahler Private University for Music, Klagenfurt, Austria.4Experimental Psychology Division, University Hospital for Psychiatry and Psychotherapy, University of Bern, Bern, Switzerland.3WÜRTH Chair of Cultural Production, Zeppelin University, Friedrichshafen, Germany.2York Music Psychology Group, University of York, York, United Kingdom.1Department of Music, Max Planck Institute for Empirical Aesthetics, Frankfurt am Main, Germany.Melanie Wald-Fuhrmann 1* Hauke Egermann 2 Anna Czepiel 1 Katherine O’Neill 2 Christian Weining 3 Deborah Meier 4 Wolfgang Tschacher 4 Folkert Uhde 5 Jutta Toelle 1,6 Martin Tröndle 3
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