Mit Fragen der Rezeptionsforschung sind heute verschiedene wissenschaftliche Disziplinen befaßt, die trotz ähnlicher Fragen isoliert nebeneinander stehen. Es schien den Versuch wert, durch ein Symposion «Der Hörer als Interpret» zumindest eine interdisziplinäre Diskussion anzuregen, um Berührungen zwischen psychologischen, ästhetischen und musiktheoretischen Betrachtungen aufzuzeigen. Diese Publikation gibt die Beiträge zum Symposion wieder, wobei Experten u.a. zum Problem der Gedächtnisrepräsentation von Musik, zur Rezeptionsästhetik und zur hörenden Interpretation in der elektroakustischen Musik Stellung nehmen.

Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound, it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion. The development of the Immersive Music Experience Inventory could close this gap. An initial item list was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed (...) items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study. The N = 222 Participants were recruited via mailing lists and via a panel provider. Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct “immersive listening experience” was determined by probabilistic test theory and by means of the many-facet Rasch measurement. As a result, the specified MFRM model showed good model fit. The final one-dimensional inventory consists of 10 items and will be made available in English and German. (shrink)