Academic literature on the topic 'Music audiences'
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Journal articles on the topic "Music audiences"
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Miranda, Pritta, and Reny Yuliati. "Eksistensi Radio Saat Ini : Studi Preferensi & Motivasi Khalayak Dalam Mendengarkan Radio." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 4, no. 3 (November 5, 2020): 735. http://dx.doi.org/10.25139/jsk.v4i3.2477.
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Radio is an audio medium used to fulfil the needs the audience's need, both for information and entertainment. Radio provides a variety of information content and a choice of music. Amid technological developments, the presence of many choices of media to access news, entertainment, music, and other information has become a challenge for radio broadcasting. Now people have various choices of media to get information and listen to music. This research aimed to look at the choice of media, especially radio, from the audience and find out what makes radio remains the audience's choice for information, entertainment and listening to music compared to other new media, including the reasons and motivations of audiences to listen to the radio. The results showed that audiences tended to prefer radio over other media because radio offered unique things, for example, the element of 'surprise' in selecting songs that give different sensations. In addition, the presence of radio broadcasters is also considered entertaining and can be a companion to the audience, especially when travelling. These results indicate that radio offers a uniqueness that cannot be found in other media, and the audience is free to choose the media based on their motivations, the greatest of which is listening to the radio for music, entertainment, and information.
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Litos, Ioannis, and Eirini Papadaki. "‘If you play some good music, people immediately understand it’: Audience response to busking." International Journal of Community Music 16, no. 2 (July 1, 2023): 135–53. http://dx.doi.org/10.1386/ijcm_00079_1.
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Busking is part of the daily urban life of citizens worldwide. Every street music performance can affect buskers or passers-by in different ways because the people, the conditions, the terms and the reasons for music-making is unique every single time. This article aims to deliver social insights from the Greek busking community of Thessaloniki. Specifically, we examine the relationship between street musicians and their audience, according to their attitudes and practices during a street performance. For this study, a mix-methods approach was followed where quantitative and qualitative data was collected from 146 participants (82 were members of the audience and 64 were buskers). Our methodology relied on semi-structured interviews to collect buskers’ and audiences’ views on their experiences, as well as field notes and observation to document their relationship and reactions first-hand. The main findings indicate that buskers and audiences sustain a healthy relationship between them while buskers are thankful for the audience’s reaction to their performance and tend to make a series of performative choices, according to audience preferences. Furthermore, all audience members actively approve of the existence of street music and show their appreciation of being part of this community, by donating money and participating through various ways (singing, dancing, taking photos).
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Wu, Jun, Jiede Wu, Chien-Wen Cheng, Chang-Chieh Shih, and Po-Hsien Lin. "A Study of the Influence of Music on Audiences’ Cognition of Animation." Animation 16, no. 3 (November 2021): 141–56. http://dx.doi.org/10.1177/17468477211052599.
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How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of music in animation. This study focuses on the popular form of sand animation and provides insights into audiences’ cognition differences and preferences in order to uncover the core factors. The findings are that: (1) the audience perceived more consistent and subtle differences in the use of musical instruments, rhythm cadence and video–audio fit; there were also obvious differences in the perceptions of vocal skills, performance skills and musical style as well as emotional transmission; (2) three aspects of the audiences’ evaluation of an animation were affected by music: creativity, cultural meaning and preferences. The seven elements that constitute animation music (use of orchestration, vocal skills, musical style, rhythm cadence, performance techniques, emotional transmission and video–audio fit) exerted varying degrees of influence on the audiences’ evaluation of the animation film. Amongst these, video–audio fit was found to be the most important element, as it simultaneously affected the audiences’ evaluation in terms of creativity, cultural meaning and preferences; (3) audiences of different ages and professional backgrounds showed significant differences in evaluating animation films in terms of creativity, culture and preference; and (4) differences in music had a significant impact on audiences’ perceptions and evaluations of 10 facets of animation films, including the story content, role identification and spiritual fit.
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Corsa, Andrew J. "John Cage, Henry David Thoreau, Wild Nature, Humility, and Music." Environmental Ethics 43, no. 3 (2021): 219–34. http://dx.doi.org/10.5840/enviroethics202111828.
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John Cage and Henry David Thoreau draw attention to the indeterminacy of wild nature and imply humans cannot entirely control the natural world. This paper argues Cage and Thoreau each encourages his audience to recognize their own human limitations in relation to wildness, and thus each helps his audience to develop greater humility before nature. By reflecting on how Thoreau’s theory relates to Cage’s music, we can recognize how Cage’s music contributes to audiences’ environmental moral education. We can appreciate the role of music in helping audiences to develop values conducive to environmentally sustainable practices.
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Arvidsson, Alf. "Guest Editor’s Column." Puls - musik- och dansetnologisk tidskrift 7 (May 1, 2022): 5–8. http://dx.doi.org/10.62779/puls.v7i.19252.
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The wide span of themes, methods and perspectives in this issue of Puls testifies to the expansion of the epistemological expectations in ethnomusicology, or, the increasing number of fields in which ethnomusicology can claim a position and make substantial contributions. The articles in this issue address themes such as:
•The affordance to make music that an audience offers musicians.•The technical possibilities and restraints of different media and the conventions on how to handle them.•The changing of meanings and performance practices when music is moved across time, space and social networks.•Music being comprehensible by establishing patterns – and patterns of deviating from patterns.•Music representing audiences and musicians, musicians and audiences representing music, musicians and audiences representing or challenging each other by the means of music.• Music and society constructing and reconstructing each other.
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Sdraulig, Charlie, and Louis d'Heudières. "ATTENDING TO ATTENDING: PERFORMING AUDIENCE PERSONAE IN CONTEMPORARY MUSIC." Tempo 76, no. 300 (April 2022): 18–32. http://dx.doi.org/10.1017/s0040298221000899.
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AbstractThis article proposes ways of reimagining how performers and audiences relate to one another during live performances. In contrast to forms of participation where audiences emulate well-known performer and/or composer models, the authors argue for sensitivity to audiences as they present themselves. Attending to, reciprocating and adopting audience behaviour in/as performance can lead to novel interactions, identities and formats for creative practice. The authors discuss pieces by Pauline Oliveros, David Helbich and Carolyn Chen, as well as their own practice research.
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Sposato, Jeffrey S. "Saint Elsewhere: German and English Reactions to Mendelssohn's Paulus." 19th-Century Music 32, no. 1 (2008): 26–51. http://dx.doi.org/10.1525/ncm.2008.32.1.026.
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Abstract This article examines German and English reactions to Felix Mendelssohn's 1836 oratorio, Paulus. German Protestant audiences recognized Paulus's devotional, or spiritual, quality, which derived from its incorporation of well-known Lutheran chorales. In using chorales and reflective arias and choruses, Mendelssohn followed the model established by Johann Sebastian Bach in his St. Matthew Passion, a work that Mendelssohn had reintroduced to German audiences in 1829. When Paulus was premiered for English audiences in a translation called St. Paul, it was enthusiastically received. But these audiences misunderstood St. Paul's devotional elements, for several reasons. Not only were English audiences unfamiliar with both Bach's music and the Lutheran chorale, they also expected oratorios to follow the model established by Handel. As such, English audiences were confused by those places in St. Paul where the present-day audience is called to reflect and attempted to attribute these numbers to characters in the drama. Mendelssohn responded to this confusion when writing his next oratorio, Elias (or Elijah), in which he hewed more closely to the Handelian model.
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Matthews, Emma-Kate. "Activating Audiences: How spatial music can help us to listen." Organised Sound 24, no. 3 (November 29, 2019): 297–306. http://dx.doi.org/10.1017/s1355771819000360.
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This article discusses the importance of active listening when engaging new audiences with experimental and unfamiliar musical formats. Spatial music is examined as a physically immersive medium in which the audience is implicated as an active component in the execution of its performance. A brief account of the historic context of spatial music will be presented alongside speculation for the trajectory of its future; particularly its potential as a model for audience engagement. This article will first consider how spatially immersive performances have the capacity to activate listeners and how can this help to engage new audiences with new ways of listening. It will also question the notion of inhabiting spatial music, with an investigation of the multiple ways in which spatial music relates to physical space and the terms of its inhabitation. The concept of virtual listening will be discussed in response to trends towards passive hearing, as driven by recent technological developments in acoustic software and hardware, and the resultant abstraction of the spatial and social dynamics of sound in virtual space. The physiological and psychological differences between listening and hearing will also be examined as a means of establishing fundamental differences in the ways that we interact with music, and questioning what our listening habits tell us about audience engagement in the context of experimental music performance. This article will also question the individual roles of the musician, composer, architect/designer and audience in the ongoing responsibility to improve audience engagement in new, or unfamiliar musical works. Importantly, this article will also explicitly examine who we are referring to when we use the term ‘new audiences’. Major developments in acoustic technology during the last few decades have somewhat confused the diagram between music, space and listener. The understanding of which elements are active and which are passive is especially ambiguous at a time when ambisonic and binaural technologies have become developed enough to provide accurate simulations of the abstract, acoustic qualities of spaces, but on virtual terms. Architects, composers, musicians, engineers and audiences are at a crossroads in the development of new music and experimental, spatiosonic practice. ‘Spatiosonic’ is a hybrid term which is used throughout this article to describe work and phenomena which regard space (spatio) and sound (sonic) as equal, interactive partners. This article considers some of the opportunities and limitations at stake in current techniques of composition, performance and listening.
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SCHEDEL, MARGARET ANNE. "Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP." Organised Sound 9, no. 3 (December 2004): 301–3. http://dx.doi.org/10.1017/s1355771804000500.
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The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences may hold. Using the term ‘Sound Art’ instead of ‘music’ may also help to free people struggling to appreciate unfamiliar sounds.
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Cheng, Lee, Chi Hin Leung, and Wing Yan Jasman Pang. "Audience’s Perceived Expectancy and Authenticity of Classical Music Performance by Digital Musical Instrument Mobile Apps." Music Perception: An Interdisciplinary Journal 41, no. 2 (December 1, 2023): 132–47. http://dx.doi.org/10.1525/mp.2023.41.2.132.
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Classical music is characterized by its standardized practices and established patterns of audience behavior. Recent advancements in digital musical instrument (DMI) and mobile technology may potentially offer a means by which the art form can further evolve. This paper presents a study that aims to examine the audience’s perception of classical music concerts performed by ensembles using DMI mobile apps and tablets. A mixed-methods approach was employed, including a questionnaire survey administered to audiences (N = 141) attending a classical music concert featuring repertoire performed by DMI mobile apps ensembles, as well as semi-structured interviews conducted with a subset of participants (n = 13). The survey results revealed significant, strong, and positive correlations between participants’ enjoyment of listening to classical music, frequency of attending classical music concerts, expectancy, and authenticity. The interviews addressed relevant issues, such as differences in ensemble and instrumental practices, timbral quality, and the capabilities of DMI mobile apps. While there were negative perceptions regarding expressive body movements, emotional expression, and interaction among performers, positive feedback regarding the use of DMI mobile apps affirmed the potential to introduce innovative pedagogical approaches in school music education, cultivate a younger audience base, and bring fresh ideas to this genre.
Dissertations / Theses on the topic "Music audiences"
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Redhead, Tracy. "Interactive music formats : will audiences interact?" Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/80881/4/Tracy_Redhead_Thesis.pdf.
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The purpose of this research was to conduct a pilot study of a prototype interactive music release format which sought to investigate the readiness of audiences to interact with an interactive alternative to a fixed recorded work. A prototype music interface was created for testing. The prototype was then tested on a sample of users to understand what factors might be critical to audience engagement. The research further investigated the potential implications of the interactive release format on musicians' creative process.
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Zaborowski, Rafal. "Audible audiences : engaging with music in Japan." Thesis, London School of Economics and Political Science (University of London), 2015. http://etheses.lse.ac.uk/3219/.
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In this thesis I aim to uncover the nature, quality and implications of audience engagement with popular music in everyday life. Specifically, I look at two post-war generations in modern Japan and analyse their listening practices and interpretations of music encounters. To investigate this, a mixed-method approach is used based on focus group and individual interviews, questionnaires, participant observation and expert interviews with industry representatives – 100 study participants overall. Emerging patterns and themes are identified through qualitative thematic analysis. In two case studies – of idol groups and vocaloid music - I focus on how audiences, especially fans, and producers interact, with a close bond emerging over a process of cultural co-evolution of production and reception. Then, I position this map of engagements within the experiences of two Japanese cohorts, “the lost” and “the relaxed”. I argue that their generational experiences and localities guide the frames through which they interpret music. I argue that listening to music is a complex social practice whose significance has been undervalued in audience research. Audiences make music choices and engage with musical texts according to specific modes and routines which should be analysed together. Following the legacy of literary and television audience studies, I propose an account of music listening in terms of a spectrum of audience engagements linked to texts, contexts, performances and authorship. The concepts of proximity (cultural proximity and the proximity between performers and audiences) inform the analysis of the circuit of culture, offering new insight into modes of engagement and production processes. Japan, home of the Walkman and karaoke, emerges from the analysis as not only the land of technological innovations in music, but also as a culture with wider implications for media and audience research.
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Lee, Erin Gilligan. "New Audiences for New Music: A Study of Three Contemporary Music Ensembles." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1240423668.
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Lee, Erin. "New audiences for new music a study of three contemporary music ensembles /." Akron, OH : University of Akron, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1240423668.
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Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2009."May, 2009." Title from electronic thesis title page (viewed 8/1/2009) Advisor, Durand Pope; Faculty Readers, Neil Sapienza, George Pope; School Director, Neil Sapienza ; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Emanski, Julianna. "Early Music Audiences: A Survey and Analysis of Early Music Consumers in Texas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707272/.
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Texas has a rich tradition of Early Music ensembles that dates back to 1969. However, there is little reliable information based on statistical data collection and analysis concerning Texas Early Music consumers. Little is known about why they attend Early Music performances or other important factors that affect the Early Music industry. Through the use of an extensive survey and accompanying statistical analysis, this study answers many questions regarding Early Music consumers in the State of Texas. This study collected demographic and psychographic data in January 2020 about the Early Music concert-going public in three major Texas cities - Dallas, Austin, and Houston. Other factors were identified in two primary areas: audience characteristics and ticket pricing practices.
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Hearn, Lucinda J. "Wild release: Making albums for audiences in a short-form economy." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/117287/2/Lucinda%20Hearn%20Thesis.pdf.
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The importance of making full length albums has been questioned in light of recent changes in the music industry, and there have been a variety of responses on the part of artists and labels. Many of these responses have been highly specific, and may not lend themselves to being scaled up effectively or to innovative ways of rethinking the relationship between artists and fans. Here I make the case that responses thus far are lacking, and point to the need for more broadly applicable and sustainable response techniques. Using a practice-led research project, I seek out such response techniques. I explore three modes of practice: creating a release and distribution experiment; creating a set of aesthetic musical rules; and creating a character for performance. I detail new operational knowledge in the form of narrative tools each mode of practice has uncovered, demonstrating the potency of using narrative tools in order to (re)engage audiences with the album as a musical form.
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Dilokkunanant, Komsun. "Strategies for classical music audiences: an exploration of existing practices used by western European art music organizations." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6937.
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Music has been part of human culture since the beginning of civilization. All musical types, styles, and genres are products of different cultures at different times. What we refer to today as Classical Music are the musical compositions written for standard Western European orchestral instruments ranging from solo to chamber music to symphony orchestra. Towards the end of the nineteenth-century classical music gradually came to be seen as "serious" music that required deeper knowledge in order to truly appreciate it. With the rise of the popular music category, classical music itself has become less relevant and less a part of today’s society.
Classical music institutions have thus been trying to find different strategies to reconnect classical music with audiences. Examples include attractive subscription schemes, varied concert formats, and community and educational projects. It is also notable that non-musical aspects connected with concerts also contribute to an audience’s overall decision making. The quality of the performance is not the only factor anymore that needs to be considered to ensure success. This dissertation explores different strategies used by some prominent Western European art music organizations, mainly orchestras, to creatively engage their audiences. These strategies are examples of successful audience engagement that can serve as a resource for other organizations in their quest to engage their own audiences.
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Freeman, Cole. "Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500034/.
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The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.
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Lee, Sang Won. "Audience participation using mobile phones as musical instruments." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.
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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.
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Carter, Danielle Catherine. "Envisaged, invited and actual audiences: A new model to approach audience research in Australian community-engaged performance projects." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/127464/1/Danielle_Carter_Thesis.pdf.
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This study investigates different approaches to theatre audience studies to develop a new practical model for examining the embedded and intrinsic audiences in community-engaged performance projects with social orientations. The practical model is empirically tested in two Australian case studies, and augmented and enhanced through its application in three key audience categories: Envisaged Audience, Invited Audience and Actual Audience. This study argues that the proposed model is a useful tool for industry, in particular, to locate, illuminate and disrupt different points of views on audiences held by community stakeholders, and to integrate perceptions on the audience with actual audience experiences.
Books on the topic "Music audiences"
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Horowitz, Harold. The American jazz music audience. Washington, D.C. (1201 Pennsylvania Ave., NW, Suite 720, Washington 20004): National Jazz Service Organization, 1986.
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1969-, Mann Kenton, ed. Music unlimited!: The performer's guide to new audiences. Chur, Switzerland: Harwood Academic Publishers, 1994.
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Farrell, Isabel. Music unlimited: The performer's guide to new audiences. [Chur, Switzerland]: Harwood Academic Publishers, 1994.
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Wa Lehulere, Kemang, 1984- contributor, ed. Luxurama. [South Africa?]: [publisher not identified], 2018.
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contributor, Dupin-Meynard Félix, Négrier Pauline contributor, Potier Damien contributor, and Gerbaud Philippe illustrator, eds. Les musiques du monde et leur(s) public(s): Six festivals en Provence-Alpes-Côte d'Azur. [Marseille]: Le Mot et le reste, 2014.
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Matthews, Jacob Thomas, and Lucien Perticoz. L'industrie musicale à l'aube du XXIe siècle: Approches critiques. Paris: L'Harmattan, 2012.
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Rijal, Shiva. Performing for tourists: Redefining performances, performers, and audiences. New Delhi: D.K. Printworld, 2010.
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Gewerkschaft Erziehung und Wissenschaft. Landesverband Hamburg. Musikausschuss., ed. Hundert Jahre Hamburger Schülerkonzerte 1898-1998. Altenmedingen: H. Junker Verlag, 1998.
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Susanna, Agardy, and Australian Broadcasting Tribunal, eds. Young Australians and music. Melbourne: Research Branch, Australian Broadcasting Tribunal, 1985.
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Barendregt, Bart, Peter Keppy, and Henk Schulte Nordholt. Popular Music in Southeast Asia. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984035.
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From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.
Book chapters on the topic "Music audiences"
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Tibbetts, John C. "Engaging Audiences." In Performing Music History, 327–40. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_11.
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Phillips, Michelle, and Amanda E. Krause. "17. Audiences of the Future." In Classical Music Futures, 333–54. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.17.
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The COVID-19 pandemic introduced audiences to new ways of engaging with artistic performance in an online environment (Rendell, 2020, terms this ‘pandemic media’). Multiple performers and organisations transferred live performances into a recorded or livestreamed format. However, at present, there is little research to support decisions that organisations may make in terms of how they do this, and what they deem to be important in how they record and / or stream. There is evidence to support the value of ‘liveness’ in music performance (Tsangaris, 2020), but what is this, and can it be replicated in online environment? This chapter will outline existing research regarding concepts such as liveness in music performance. The study discussed in the chapter will also discuss research regarding the live music experience as a social one, and the vital role that sharing musical spaces plays in social bonding and group coherence. This study examines questions including what listeners perceive to be the main differences between live and livestreamed attendance at music performance, and what constitutes ‘liveness’ in such performances. Data analysis suggests that audiences may have different motivations to attend live versus livestreamed performances, with the former being associated with having fun and a good night out, and shared experience, and the latter often about using time in a meaningful way and the sound quality available in livestreamed attendance at an event. ‘Liveness’ involves not only such factors as the opportunity to share an experience and interact with other audience members and performers, but also the sense of atmosphere, immersion, sensory experiences, and being physically present. When asked about the advantages and disadvantages of attending a livestreamed performance, audience members cite factors common to both live and online experiences such as the logistics, and whether they are with other people or not. However, a thematic analysis also reveals differences in what people see as the advantages and disadvantages of attending online, such as the emotional response to a live performance, and considerations around accessibility and the impact on the environment for online experiences. There is an urgent need in the music industry to better understand what the essential elements of a live performance are, and whether these aspects need to be, and indeed can be replicated in a livestreamed event, for example in terms of level of sound quality and emotional response.
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Blair, Christopher. "Concert Halls, Music, and Audiences." In Modern Theatres 1950–2020, 53–67. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-9.
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Smilde, Rineke. "Engaging with New Audiences." In Forum Musikvermittlung - Perspektiven aus Forschung und Praxis, 151–68. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839456811-012.
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In this article, research into musicians' engagement with new audiences in the field of music and healthcare is explored from the angle of musicians' biographical learning processes. Two examples are discussed, a research into 'Music and Dementia' and 'Meaningful Music in Healthcare', which is on music in hospital contexts. In both examples musicians' biographical learning in these practices is explored as a development into their professional performance. Lastly, the article discusses what everything learnt means for a more holistic approach of learning and teaching in higher music education, where the idea of engaging with new audiences is often marginalised.
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Emerson, Gina. "Contemporary classical music and its audiences." In Audience Experience and Contemporary Classical Music, 45–67. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003142874-3.
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Toelle, Jutta. "10. Is It Time for Brahms, Again?" In Classical Music Futures, 191–204. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.10.
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The essay focuses on classical music practices in the German-speaking world. Several big questions are addressed, such as the age group of audiences and the seemingly old-fashioned canonic repertory. These two issues, coupled with the high subsidies that classical music receives, makes the classical music practices vulnerable. In addition, pressure is increasing as many concert halls and theatres are awaiting overdue renovation work which turns out to be extremely costly. Within this setting, non-institutionalised classical music performers are having an easy game, as they address diverse audiences, perform diverse musics, and are not subsidized. While the challenge for the traditional institutions is immense, the knowledge that classical music practices can play many different roles in a society makes the discussions exciting and future-proof.
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Hambersin, Michel. "Classical Music: New Proposals for New Audiences." In Enhancing Participation in the Arts in the EU, 311–22. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-09096-2_21.
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Fernandez-Blanco, Victor, Maria J. Perez-Villadoniga, and Juan Prieto-Rodriguez. "Looking Into the Profile of Music Audiences." In Enhancing Participation in the Arts in the EU, 141–54. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-09096-2_9.
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Sadoff, Ronald, and Miguel Mera. "Shaping the Soundtrack? Hollywood Preview Audiences." In The Routledge Companion to Screen Music and Sound, 291–304. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-24.
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de Wit, Krista, and Beste Sevindik. "8. Meaningful Music in Healthcare." In Classical Music Futures, 153–76. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0353.08.
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Meaningful Music in Healthcare (MiMiC), places professional classically-trained musicians inside hospital wards to play live music for patients and healthcare professionals. The musicians’ work is underpinned by interprofessional collaboration with healthcare professionals, as well as the development of new professional skills in person-centred music-making. Through the emergence of an interprofessional community of practice between the healthcare professionals and the musicians, the musicians’ professional performance begins to develop. They learn about navigating a new work context, about their interactions with their new audiences, as well as their artistic signatures, which are fostered by the intimate musical encounters that take place by the patients’ bedsides and in the nurses’ breakroom. The approaches of person-centred music-making in the practice of MiMiC evoke social change in the working culture and learning of healthcare professionals, patients’ experiences of care, as well as musicians’ professional growth. The MiMiC-practice enables the musicians to develop new professional skills beyond excellence in classical music performance, namely situational excellence. It allows the musicians to become recognised as cultural collaborators in achieving compassionate person-centred hospital care. This paper explores the emerging professional profile of classically-trained musicians working in hospitals, their professional development and discovered professional identities through the contextual work with their new audiences, the horizons of their work as cultural allies for compassionate healthcare, and the educational consequences of this new field of practice for institutes of higher music education.
Conference papers on the topic "Music audiences"
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Takatama, Mirai, and Wonseok Yang. "Remote Cheering System with Voice in Live Streaming." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001753.
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In recent years, live streaming has become the mainstream. Because the music live has been canceled or postponed by the influence of the new coronavirus infection. Even now that the number of infected people is decreasing, hybrid live performances with both concert and live streaming are being held. Live streaming can reduce travel costs and time, so it has the merit of being able to watch it easily. However, it is difficult to feel a sense of unity and presence, and it does not create more excitement than concert. It has become a problem in the music industry. In order to solve this problem, we think it is necessary to pay attention to the presence or absence of audience sharing the same place and voice, which is a big difference between concert and live streaming. This study examines how to make it satisfactory live where we can feel a sense of unity and presence even if we are alone at home in a live streaming. To this end, we clarified the behavior of the audience watching concert and analyzed how to cheer.Therefore, we conducted a survey of the excitement of it based on the pyramid of Freytag.We investigated the behavior of the audience from concert videos of idols, singers and rock bands. As a result, audience’s cheering method has three types of cheering: those using voice, those using hands and those using entire body. Cheering using voice plays an important role in deciding the excitement.Live streaming has comments, social tipping, and posting on SNS as a service. However, none of them share the voice of the audience. This analysis clarified the reason why live streaming is not more exciting than concert. Thereby we considered that sharing emotions aloud between the audience create a sense of unity in live streaming. From the above, we produce a live streaming cheering system using voice. This system uses the call program to communicate with other audiences, visualize the voice of the audience and project it on the screen. It’s mechanism that increases the number of effects that express excitement as the audience’s voice gets louder. We produce it to use TouchDesigner. Moreover, subjects watched the concert video with this system. we experimented with whether the subject felt a sense of unity and presence compared to conventional live streaming. Subjects were able to shout even more by sharing voices with other audiences and visualizing their voices. In addition, conventional live streaming shared emotions by discussing their impressions with other audiences using SNS. By contrast, this system can share emotions directly through the call program, which makes it more exciting. On the other hand, subjects have an opinion that it would be better to project effects tailored to the concept of songs and concerts on the screen so that the audience would not get bored. Therefore, this system is room for the development. From this experiment, the remote cheering system using voice improve the concert experience at home.
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Tseng, Hua Hui. "PROGRAM NOTES: EDUCATING MUSICIANS AND AUDIENCES IN PROFESSIONAL MUSIC TRAINING - THE TUT EXPERIENCE." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end062.
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"This paper is written in response to the request to consider musical experiences at Western Classical Music concerts, and more specifically, the role of the program note that informs listeners and performers about the historical context of the composition and includes the composers’ biographical details and compositional thinking. Program notes are similar to reading the “spoilers” before seeing movies. What follows is based on observations and reflections from the Tainan University of Technology (TUT), Taiwan, and its educators’ experiences of teaching graduate music students. The idea put forward is that the content of the program note reflects the performers’ interpretations of the composer’s ideas, and access to this note provides an opportunity for music educators to reconfigure and strengthen their pedagogical approaches. By recognizing the intended role of the program note and its relation to the interpretation, understanding, and collaboration in music course curricula, music educators continue to grow in their range of practices. Knowing a composer’s intention can be used to develop the performance of the composition and understand the genre and cultural/social/historical/political connections of the composer and composition, thus providing useful experiences for music students."
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Gao, Xinwei, Deng Kai Chen, Zhiming Gou, Lin Ma, Ruisi Liu, Di Zhao, and Jaap Ham. "AI-Driven Music Generation and Emotion Conversion." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004679.
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With the integration of Generalized Adversarial Networks (GANs), Artificial Intelligence Generated Content (AIGC) overcomes algorithmic limitations, significantly enhancing generation quality and diversifying generation types. This advancement profoundly impacts AI music generation, fostering emotionally warm compositions capable of forging empathetic connections with audiences. AI interprets input prompts to generate music imbued with semantic emotions. This study aims to assess the accuracy of AI music generation in conveying semantic emotions, and its impact on empathetic audience connections. ninety audios were generated across three music-generated software (Google musicLM, Stable Audio, and MusicGen), using four emotion prompts (Energetic, Distressed, Sluggish, and Peaceful) based on the Dimensional Emotion Model, and two generated forms (text-to-music and music-to-music). Emotional judgment experiment involving 26 subjects were conducted, comparing their valance and arousal judgments of the audios. Through Multi-way variance analysis, the AI-music-generated software had a significant main effect on the accuracy of conversion. Due to the diversity of generated forms of MusicGen, it has a lower accuracy of conversion compared to Google musicLM and Stable Audio. There was a significant interaction effect of generated forms and emotion prompts on the accuracy of conversion. The differences in accuracy between emotion prompts in the form of text-to-music were statistically significant, except for the differences between the accuracy of Distressed and Peaceful. Compared with the generated form of text-to-music, the form of music-to-music showed statistically significant emotional conversion ability for low arousal. The diversity of AI software input elements (i.e., text or music) may affect the effectiveness of emotional expression in music generation. The ability of different software to convey different emotions according to different prompts was unsteady in the form of text-to-music. This study advance computer music co-composition and improvisation abilities, facilitating AI music applications in fields such as medical rehabilitation, education, psychological healing, and virtual reality experiences.
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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.
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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
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Deweppe, Alexander, Nuno Diniz, Pieter Coussement, and Marc Leman. "Engaging Audiences through a Participatory Design Approach with the Interactive Music Installation ‘SoundField’." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.1.
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Jucu, Ioan Sebastian. "REPRESENTING CITIES, PLACES AND CULTURES THROUGH MUSIC TOURISM AND ICONIC MUSIC LEGENDS: A SHORT GEOGRAPHICAL ANALYSIS OF CELINE DION�S MUSIC AND TRAVEL." In 9th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscss.2022/s14.122.
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Cities, cultures, tourism and music have always been connected through the close relations between urban places as music venues, tourists and legendary musicians which perform to largest audiences. This paper aims to briefly examine the most important relations between music, tourism, cities and iconic musicians considering as a case in point, one of the most emblematic artists in the contemporary global popular culture - the iconic songstress Celine Dion. The article unveils the most important features which connect places with different cultures, with the fans as music tourists and with the outstanding artists that shape particular landscapes based on their tours and live performances. The article, in brief unveils, the most important cities and cultures that are frequently inserted in the artists� agenda trying to highlight the places and the cities� cultural specificities through the lens of popular music and lyrics analysis. The main methods used in this paper belongs to media tools analysis using a musical documentary and the discourse analysis of both the artist and the people/music tourists. The main findings highlight that cities and places, beyond remaining emblematic music venues and touristic places for a large number of people that travel from different places to see their favorite artists, are places with specific cultural identities often represented in/through music and, furthermore, through the music of legendary artists and through the artists themselves.
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Oliveira, Gabriel P., and Mirella M. Moro. "Mining Exceptional Genre Patterns on Hit Songs." In Symposium on Knowledge Discovery, Mining and Learning. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/kdmile.2023.232412.
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The music industry has always been complex and competitive. Nowadays, combining different genres has become a common practice to promote new music and reach new audiences. Given the diversity of combinations between all genres, predictive and descriptive analyses are very challenging. Here, our goal is to mine frequent and exceptional patterns in music collaborations that have achieved success in both global and regional markets. We use the Apriori algorithm to mine genre patterns and association rules that reveal how music genres combine with each other in each market. The results show significant differences in the behavior of each market and a strong influence of the regional factor on musical success. In addition, we are able to use such patterns to identify and recommend promising genre combinations for such markets through the association rules.
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Qin, Y., D. J. Li, and J. T. Yang. "Impact of computer music technology on the effect of the information memory of audiences." In 2015 International Conference on Power Electronics and Energy Engineering. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/peee-15.2015.64.
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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.
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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.
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Kaneko, Tatsuyoshi, Hiroyuki Tarumi, Keiya Kataoka, Yuki Kubochi, Daiki Yamashita, Tomoki Nakai, and Ryota Yamaguchi. "Supporting the Sense of Unity between Remote Audiences in VR-Based Remote Live Music Support System KSA2." In 2018 IEEE International Conference on Artificial Intelligence and Virtual Reality (AIVR). IEEE, 2018. http://dx.doi.org/10.1109/aivr.2018.00025.
Full textReports on the topic "Music audiences"
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Taela, Kátia, Taela, Kátia, Euclides Gonçalves, Catija Maivasse, and Anésio Manhiça. Shaping Social Change with Music in Maputo, Mozambique. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/ids.2021.020.
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In Mozambique, development programmes have traditionally drawn on music as a means to promote social transformation by educating citizens on key social development issues. Shifting the focus from music as a teaching medium to music as a rich source of information can provide vital insights into public opinion and political ideas, and significantly impact the development of citizen engagement projects. Maximum gains for development and civil society agencies can be achieved by mainstreaming gender into mutual learning activities between singers, audiences, and academics.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.
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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.