Audience reactions to the program notes of unfamiliar music

Bennett, Dawn; Ginsborg, Jane

doi:10.1177/0305735617721339

Cited by 18 publications

(21 citation statements)

References 26 publications

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“…Harries' study suggests that musicians are likely to prefer to form their own interpretative responses to music, whereas novice listeners welcome interpretative guidance; this finding mirrors that of Bennett and Ginsborg (2018). Most of Harries' participants appreciated "guidance toward composers' or performers' intent, or .…”

Section: Program Note Contentmentioning

confidence: 82%

“…Following on from Margulis' work, Bennett and Ginsborg (2018) gave two performances of unfamiliar music to the same audience and explored audience reactions by sharing the program notes only after the first performance. All listeners responded differently to the music once they had been given the program notes.…”

Section: Review Of Literaturementioning

confidence: 99%

“…Of interest, more experienced listeners in Bennett and Ginsborg's study were far more likely to reject the program note information in favor of their own interpretation, particularly if they had experiences of music making; this suggests that the impact of program notes is influenced by the musical experience and knowledge of listeners. Bennett and Ginsborg (2018) suggest that the impact of program notes on listeners might relate to familiarity with the music being performed. However, they warn that the relationship between familiarity and liking is not yet understood.…”

Section: Review Of Literaturementioning

confidence: 99%

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Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts

2020

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At classical music concerts, a program note is the usual medium for communicating information about the music to be heard and performed. Although there may be crossover of information, the program note is distinct from the CD cover note, from notes contained within a musical score note, and from a composer's directions for performers. With a focus on contemporary classical works in the Australian context, the researchers' aim in this study was to develop and test an analytical frame of informational categories with which to examine program note content. Three extant studies -one scientific, one phenomenological and one semiotic -informed the development of an initial theoretical framework for program note analysis. This was tested through the analysis of program notes (n = 30) from each of three writer cohorts: composers, professional writers, and higher education students. The analytical frame revealed different emphases of information categories among the three program note writer groups, with a more sophisticated combination of categories used by the professional writers and composers. This has implications for the teaching of program note writing in tertiary performance institutions, encouraging diversity of student content without extinguishing personal insights.

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Section: Program Note Contentmentioning

confidence: 82%

Section: Review Of Literaturementioning

confidence: 99%

Section: Review Of Literaturementioning

confidence: 99%

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Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts

2020

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“…The experience of new or challenging music calls for the development of a new "interpretive platform" requiring supplementary resources [3]. Radborune et al's index for measuring the audience experience notes that "Knowledge is concerned with the audience's need for information to enable a better understanding or perspective of the performance with which they are engaging" and this knowledge can be presented through a variety of channels, such as visual enhancements, self-interpretive aids, and preperformance talks [30].…”

Section: Understanding the Musical Experiencementioning

confidence: 99%

Designing the Audience Journey through Repeated Experiences

Benford

Greenhalgh

Hazzard

et al. 2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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We report on the design, premiere and public evaluation of a multifaceted audience interface for a complex non-linear musical performance called Climb! which is particularly suited to being experienced more than once. This interface is designed to enable audiences to understand and appreciate the work, and integrates a physical instrument and staging, projected visuals, personal devices and an online archive. A public premiere concert comprising two performances of Climb! revealed how the audience reoriented to the second performance through growing understanding and comparison to the first. Using trajectories as an analytical framework for the audience 'journey' made apparent: how the trajectories of a single performance are embedded within the larger trajectories of a concert and the creative work as a whole; the distinctive demands of understanding and interpretation; and the potential of the archive in enabling appreciation across repeated performances.

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“…However, programme notes do have the potential to change how audiences listen to a piece of unfamiliar music (Bennett & Ginsborg, 2018). In this study, participants were provided with song titles before the first listening of the performance, followed by oral delivery of brief programme notes after the first performance.…”

Section: The Role Of Extra-musical Information On Recognition and Likingmentioning

confidence: 99%

Non-musicians recognize unfamiliar contemporary classical music excerpts with increasing repetition

MacRitchie

Stevens

2018

Musicae Scientiae

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This article aims to determine the effects of exposure and title information when applied to music excerpts that are unfamiliar both in terms of the single excerpt, and in the underlying tonal structures used (i.e. contemporary classical music). Twenty-three non-musicians participated in a two-session experiment: 32 musical excerpts were presented on Day 1 immediately followed by presentation of a title varying by type (no title, descriptive, semantic, affective). Music excerpts were varied by number of exposures (1 vs. 3 exposures). Participants were asked whether they remembered the excerpt from earlier in the experiment, and to rate their liking on a 7-point Likert scale. On Day 2, recognition for the 32 “old” (Day 1) excerpts was tested, along with 32 “new” excerpts, which were all presented without titles. Participants were also asked to rate their liking for the excerpts, as per Day 1. Accounting for response bias, recognition was above chance level across all conditions. Results indicated a significant effect of exposure on recognition ([Formula: see text] = .79). No other effects were significant. Examining the liking ratings of accurately recognized excerpts, a significant interaction between exposure and title was found ([Formula: see text] = .20), where the difference in ratings across exposure levels for affective titles was greater than that of the semantic titles ( d = .60). This suggests that the title type, although not influencing memory of the piece, affected enjoyment of music at different exposures.

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Audience reactions to the program notes of unfamiliar music

Cited by 18 publications

References 26 publications

Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts

Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts

Designing the Audience Journey through Repeated Experiences

Non-musicians recognize unfamiliar contemporary classical music excerpts with increasing repetition

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