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- Author or Editor: Adriano Giardina x
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The gramophone recording of Mozart’s Piano Concerto in G major, K. 453, featuring Ernst von Dohnányi as soloist and conductor of the Budapest Philharmonic Orchestra, made in 1928 for the Columbia Company, is important in many respects. The Hungarian pianist and composer made little more than a handful of gramophone recordings until the late 1940s. This performance is also the first audio recording ever to be published that contained a Mozart piano concerto (some piano rolls with concertos or extracts did exist beforehand). From the beginning of his career, Dohnányi had been one of the keenest promoters of the Austrian composer’s piano pieces. In the Columbia recording, the performing style of Dohnányi and his orchestra is characteristic of its time, notably because it chooses to use a flexible tempo. In addition, the soloist makes use of rubato and chord dislocation. Nonetheless, the performers are also playing in an intimate conversational tone and they emphasize Mozart’s structural clarity. The execution of themes by the pianist is both poetic and restrained. These traits will define the “mainstream” performing style of Mozart’s piano concertos over most of the twentieth century. An implicit aesthetic standard comes into force in the critical reviews of the Columbia records: Mozart’s piano concertos require lightness and gentleness from the soloist. The elements given prominence to the recording and in the reviews also appear in contemporary musicological literature and in texts on music. Recordings of two additional Mozart piano concertos (K. 271 and K. 503), played live by Dohnányi in the 1950s, display a broadly similar performing style. Over the ten years that followed the Columbia recording, the majority of Mozart’s “great” piano concertos were published on records. This newly found popular interest is connected with a positive re-evaluation of this group of Mozart’s works.
“Diagnostic inflation” will not resolve taxonomical problems in the study of addictive online behaviours
Commentary on: How to overcome taxonomical problems in the study of Internet use disorders and what to do with “smartphone addiction”? (Montag et al., 2020)
Abstract
This article suggests that the type of Internet-enabled device should not be prioritised when conceptualizing diagnostic categories of addictive online behaviours. The diagnostic distinction between “predominantly mobile” and “predominantly non-mobile” forms of Internet use disorders (IUD) is not empirically based, may not be clinically useful and may lead to “diagnostic inflation.” Problems with the concepts of smartphone use disorder and IUD on which the proposed distinction is largely based call for their re-examination. Future proposals for the taxonomy of addictive behaviours may not need to be based on online/offline and mobile/non-mobile dichotomies.
Background
A positive relationship between problematic gaming and escapism motivation to play video games has been well established, suggesting that problematic gaming may result from attempts to deal with negative emotions. However, to date, no study has examined how emotion dysregulation affects both escapism motives and problematic gaming patterns.
Methods
Difficulties in emotion regulation, escapism, and problematic involvement with video games were assessed in a sample of 390 World of Warcraft players. A structural equation modeling framework was used to test the hypothesis that escapism mediates the relationship between emotion dysregulation and problematic gaming.
Results
Statistical analyses showed that difficulties in emotion regulation predicted both escapism motives and problematic gaming, and that escapism partially mediated this relationship.
Conclusion
Our findings support the view that problematic players are likely to escape in online games as a maladaptive coping strategy for dealing with adverse emotional experiences.
