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Copyright of Forum Modernes Theater is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the 1924 novella Fräulein Else by Arthur Schnitzler, intermediality influences narrative empathy. Written in the stream of consciousness technique, the text presents an examination of the nineteen-year-old protagonist's inner struggle and its sexual implications (to save her father from jail, Else must approach an elderly acquaintance to borrow money from him), arousing the reader's empathy. The image of Else is supported, even overlapped by hidden art references -- examples of how women have been portrayed and represented in art and cultural history. In the most famous moment of the novella -- Else undresses herself during a public concert -- the stream of consciousness is interrupted by musical excerpts. Mostly considered as an emotional catalyst, at this point the musical quotation is blocking narrative empathy. Else's thoughts as well as her naked body become unreadable, because the notation is indifferent towards the reader's desires. Paradoxically, the narrative turning point is represented by an intermedial censorship. [ABSTRACT FROM AUTHOR]

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents a discussion on the role of musical activities in music therapy sessions. The author draws on his experience as a therapist to examine the implications of various strategies used by music therapists in therapy sessions. Responses to the use of musical materials are described, such as perception, symbolization, and reproduction. Further comments are made concerning the role of musical improvisation in therapy sessions.

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Jahrbuch Musikpsychologie is the property of Audio Engineering Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The articel presents a report from a July 23-28, 2012 joint music perception conference in Thessaloniki, Greece formed from a fusion of the 12th International Conference on Music Perception and Cognition (ICMPC) and the 8th Triennial and Conference of the European Society for the Cognitive Sciences of Music (ESCOM). Topics of presentations delivered included the analysis of music performances, computer science and music cognition, and knowledge of musical culture by non-musicians.

A critical reply is presented to the article "Musik – Einheit und Vielfalt ihrer kulturellen Ausprägung," by Rolf Oerter. The author discusses Oerter's thesis on the biological and evolutionary foundations of music. The author also examines Oerter's explanation of music that has a physiological foundation and a physiological correlation of musical perceptions, and adds comments from the perspective of music physiology.