<i>The audience as artist?</i> The audience’s experience of participatory music

Toelle, Jutta; Sloboda, John A.

doi:10.1177/1029864919844804

Cited by 100 publications

(26 citation statements)

References 18 publications

(15 reference statements)

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“…Research on the effects of an interaction between listeners and performers, however, is much more sparse. Here, qualitative studies also provide evidence for the general importance and appreciation audiences and performers attribute to it ( Moelants et al, 2012 ; Toelle and Sloboda, 2019 ). In the behaviorally restricted setting of a classical concert, however, real and spontaneous interaction is only possible to a small degree.…”

Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 70%

“…Of these, the history of the concert, its repertoires, halls, and listening forms ( Schwab, 1971 ; Heister, 1983 ; Forsyth, 1985 ; Salmen, 1988 ; Johnson, 1995 ; Weber, 1997 ; Cressman, 2012 ; Thorau and Ziemer, 2019 ), as well as the demography, sociology and consumer behavior of audiences ( Dollase, 1998 ; Reuband, 2007 , 2013 ; Glogner-Pilz and Föhl, 2011 ; Gembris and Menze, 2020 ; Tröndle, 2020 ) have been examined most comprehensively. More recently, a number of qualitative studies has addressed also the motivations and experiences of various audiences ( Pitts, 2005 ; Roose, 2008 ; Dobson, 2010 ; Gross, 2013 ; Brown and Knox, 2017 ; Toelle and Sloboda, 2019 ). There are studies which adopted a quantitative approach in measuring listeners’ experiences in concerts, by collecting continuous or retrospective self-report data or physiological recordings ( McAdams et al, 2004 ; Thompson, 2006 ; Egermann et al, 2013 ; Stevens et al, 2014 ).…”

Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 99%

“…If compared with other concert types, such as jazz and popular music concerts, classical concerts seem to leave the potential of creating a social experience of music largely unused, which is one factor behind the different experiences these concert types can afford ( Pitts, 2005 ; Kulczynski et al, 2016 ). This has not only been criticized from a theoretical point of view ( Small, 1998 ), but also been addressed by performers and concert curators who have started to experiment with forms that invite true interaction and even participation ( Schröder, 2014 ; Toelle and Sloboda, 2019 ). So far, the underlying assumptions as to how exactly such changes impact the collective experience have not yet been explored in a systematic way.…”

Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 99%

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Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

et al. 2021

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Performing and listening to music occurs in specific situations, requiring specific media. Empirical research on music listening and appreciation, however, tends to overlook the effects these situations and media may have on the listening experience. This article uses the sociological concept of the frame to develop a theory of an aesthetic experience with music as the result of encountering sound/music in the context of a specific situation. By presenting a transdisciplinary sub-field of empirical (concert) studies, we unfold this theory for one such frame: the classical concert. After sketching out the underlying theoretical framework, a selective literature review is conducted to look for evidence on the general plausibility of the single elements of this emerging theory and to identify desiderata. We refer to common criticisms of the standard classical concert, and how new concert formats try to overcome alleged shortcomings and detrimental effects. Finally, an empirical research program is proposed, in which frames and frame components are experimentally manipulated and compared to establish their respective affordances and effects on the musical experience. Such a research program will provide empirical evidence to tackle a question that is still open to debate, i.e., whether the diversified world of modern-day music listening formats also holds a place for the classical concert – and if so, for what kind of classical concert.

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Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 70%

Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 99%

Section: What We Already Know About Music Listening In Classical Concerts and What We Still Need To Know: A Literature Reviewmentioning

confidence: 99%

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Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

et al. 2021

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“…In addition, television can also play a crucial role in creating audiences (Borowiecki & Marvão, 2017). Another important issue to promote consumption is to organize participatory workshops before the live show, in order to make the audience interact by achieving positive (Toelle & Sloboda, 2019). Currently, and thanks to new forms of funding, such as crowdfunding, it is possible to engage in and obtain funding in a collaborative way through digital platforms, which does not imply that the state cannot and should not help new companies or professional artists.…”

Section: Resultsmentioning

confidence: 99%

Explanatory factors of university student participation in flamenco

Navarro

Martos

Oliver-Alfonso

2019

Economics &Amp; Sociology

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The present work offers a study exploring University of Seville students' cultural participation and how often they attend live flamenco shows. Based on the statistical yearbook of this university, a sample of 452 students from different fields was selected and, by applying a questionnaire, a binomial logit model and an ordered finance model were constructed. Our empirical findings offer descriptive, explanatory and predictive statistical results regarding participation and frequency. For example, the results evidence that 43% of the University of Seville students have never attended a live flamenco show and that one of the main issues influencing attendance is human and cultural capital.

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“…This study draws on a growing body of research into audience members' engagement with live classical music (for some recent examples see Garrido & Macritchie, 2018;Gosling et al, 2016;Toelle & Sloboda, 2019). The process underlying the decision to attend concerts has been investigated extensively in both academic and industry research, particularly for the purposes of carrying out more effective marketing (Baker, 2000(Baker, /2007 and addressing the social exclusivity and apparent ageing of concert audiences (Dobson, 2010).…”

Section: Familiarity and Audience Engagementmentioning

confidence: 99%

In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences

Price

2020

Musicae Scientiae

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Since the establishment of a classical music canon in the 19th century, classical music culture has historically been focused on a stable set of masterpieces by genius composers predominantly from the classical and romantic periods. A small number of composers continue to dominate programming to this day. Many classical music organisations are keen to programme music beyond this narrow repertoire and to showcase new or unfamiliar works. The need to sell tickets, however, is often an obstacle, with organisations far more confident in the ability of big hits to attract large crowds. This article explores the experiences and opinions of classical music concertgoers in relation to familiar and unfamiliar music, providing a number of reasons as to why audiences may choose to hear well-known pieces rather than new works. This paper reports on one strand of a qualitative study with 42 individuals who booked tickets for one of two concert series consisting of core and populist repertoire, respectively. Semi-structured interviews were carried out to explore the reasons for their choices and their experiences of attending live concerts. These interviews showed that most participants did indeed have a clear preference for hearing music that was familiar to them, and only frequent attenders relished the challenge of unknown music. Participants felt that listening to familiar music was usually a more enjoyable experience than hearing something new. They rarely spoke of becoming bored with over-familiar music, perhaps because the live concert experience brings a sense of freshness to even the most familiar work.

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The audience as artist? The audience’s experience of participatory music

Cited by 100 publications

References 18 publications

Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

Music Listening in Classical Concerts: Theory, Literature Review, and Research Program

Explanatory factors of university student participation in flamenco

In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences

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