A quantitative analysis of Beethoven as self-critic: implications for psychological theories of musical creativity
Identifieur interne : 000384 ( Main/Exploration ); précédent : 000383; suivant : 000385A quantitative analysis of Beethoven as self-critic: implications for psychological theories of musical creativity
Auteurs : Aaron Kozbelt [États-Unis]Source :
- Psychology of music [ 0305-7356 ] ; 2007-01.
English descriptors
- Teeft :
- Aesthetic success, Aesthetic success criteria, Anecdotal reports, Barlow, Beethoven, Best work, Best works, Brooklyn college, Cambridge university press, Career period, Chronological order, Citation measures, Classical catalog, Classical composers, Classical music, Comments span, Complete recordings, Composers judge, Computer analysis, Contemporary audiences, Contingency table, Correct decisions, Correct rejections, Creative process, Creative productivity, Creative products, Creativity, Critical evaluation, Dependent measure, Different periods, Early period, Early works, Effect sizes, Eighth symphony, Eminent creators, Empirical studies, Evaluative processes, Ewen, Expert ratings, Expertise view, False alarms, Fewer recordings, Finer distinctions, First half, Fundamental fact, Great composers, Greatest works, Grosse fuge, Halsey, Halsey rates, Halsey ratings, Harvard university press, High opinion, Historical data, Kozbelt, Late period, Late quartets, Logistic regression analyses, Major works, Masterpiece status, Masterworks, Middle period, Missa solemnis, Moonlight sonata, Morgenstern, Multivariate analyses, Musical creativity, Musical forms, Negative assessment, Negative assessments, Ninth symphony, Original theme, Oxford university press, Performance duration, Performance time, Piano concerti, Piano concerto, Piano sonata, Piano sonatas, Piano trio, Piano trios, Popular works, Positive assessment, Present results, Psychological bulletin, Psychological review, Quantitative analyses, Quotation, Quotation source, Recording counts, Relative quality, Reliable processes, Representative quotations, Richard strauss, Ries, Second half, Simonton, Social psychology, Solomon, Sonata, Sonata form works, Square root, Statistical power, String quartet, String quartets, String trios, Such data, Thematic dictionaries, Third symphony, Vintage books, Violin concerto, Wegeler, Wellingtons sieg, Whole career, Year interval duration.
Abstract
How well can composers judge their own ideas and works? This question remains largely unanswered, in part because qualitative data sources like quotations and anecdotes have not been systematically examined. This archival case study of Ludwig van Beethoven remedies this by comprehensively analyzing his self-critical statements. Explicit self-criticisms of 70 compositions were found in Beethoven's letters or conversations, spanning his whole career and most musical forms. Beethoven's positive or negative assessments are reliably associated with three citation measures of aesthetic success, and the likelihood of correct decisions strongly increased with age. His comments comparing several similar masterpieces are likewise largely consistent with expert ratings and recording counts. Finally, the ranking of works by listener-hours (number of complete recordings multiplied by performance duration) correspond closely to Beethoven's intra-genre preferences. The results suggest considerable self-critical acumen on Beethoven's part. The results support an expertise view of musical creativity in which knowledge and experience are likely to enable both progressively greater creative accomplishments and sounder self-criticism.
Url:
DOI: 10.1177/0305735607068892
Affiliations:
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<front><div type="abstract" xml:lang="en">How well can composers judge their own ideas and works? This question remains largely unanswered, in part because qualitative data sources like quotations and anecdotes have not been systematically examined. This archival case study of Ludwig van Beethoven remedies this by comprehensively analyzing his self-critical statements. Explicit self-criticisms of 70 compositions were found in Beethoven's letters or conversations, spanning his whole career and most musical forms. Beethoven's positive or negative assessments are reliably associated with three citation measures of aesthetic success, and the likelihood of correct decisions strongly increased with age. His comments comparing several similar masterpieces are likewise largely consistent with expert ratings and recording counts. Finally, the ranking of works by listener-hours (number of complete recordings multiplied by performance duration) correspond closely to Beethoven's intra-genre preferences. The results suggest considerable self-critical acumen on Beethoven's part. The results support an expertise view of musical creativity in which knowledge and experience are likely to enable both progressively greater creative accomplishments and sounder self-criticism.</div>
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