This article aims to develop the fundamentals of a theory of concert. Since it wants to explore why in history there is a wide variety of the ways to present music in public, and why some of them were more commonly spread than others, it connects two different theoretical perspectives: the evolutionary aesthetics and the theory of affordance (Kurt Lewin). Using the central concept of “attention” (Bernhard Waldenfels, Georg Franck) a concert theory is exemplified in historical as well as recent developments.
This essay is based on a much more detailed theory outline in the anthology Das KonzertII (Tröndle 2018).Online lesen
Tröndle, Martin (2018): Eine Konzerttheorie. Musiktheorie, 33(4), S. 285.