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.
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Brüggemann, Sophie [Verfasser], and Lorenz [Akademischer Betreuer] Welker. "Parsing consumption preferences of music streaming audiences : through concatenating data analytics / Sophie Brüggemann ; Betreuer: Lorenz Welker." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2020. http://d-nb.info/1218465514/34.
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Xie, Lingli. "Exploring the intersection of translation and music : an analysis of how foreign songs reach Chinese audiences." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22010.
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The thesis looks into the practice of song translation, which occupies a peripheral position in translation studies (TS) despite its commonplace occurrence and significant impact on the global spread of songs. Foreign songs enjoy enormous appeal in China, where different methods have been adopted to translate them with the aim of enhancing listeners’ full reception. In particular, the practice of writing Chinese lyrics anew and setting them to the foreign tunes regardless of the semantic relationship between the source text (ST) and the target text (TT) has proliferated over the past decades. Some translated songs capture the gist of the original lyrics omitting minor details whereas some sever their relations with the original. This blurs the boundaries between translation, adaptation and rewriting lyrics. Another noticeable phenomenon is the emergence of self-organising communities, whose involvement in translating song lyrics and circulating subtitled music videos (MVs) cannot be overlooked in today’s digital landscape. Song translation can be understood as a field with its own “rules of the game” and exchange of different forms of capital following a Bourdieusian perspective. Adopting a case study methodology, the thesis investigates the particular field of song translation with special reference to the translation practices of a veteran song translator named Xue Fan 薛范, online amateur translators, and a professional lyricist from Hong Kong called Albert Leung 林夕. These case studies have been conducted for providing an in-depth analysis of China’s song translation activities through time and the dynamics of the power relations in the field. To translate a song from one language and culture into another invariably involves the losses and gains of certain elements, given the song’s semiotic richness. Against this backdrop, the thesis attempts to examine how the interplay of different meaning-making modes in a song has been dealt with by different agents under various circumstances through close examination of the relationship between STs and TTs. This will allow a better understanding of the production, circulation and reception of song translations in respective historical, ideological and social contexts. It is hoped that the thesis can provide new insights into our understanding of ‘translation’ in relation to music, and further shed light on how translation evolves at the convergence of music and technology in the globalisation era.
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Pearce, Kevin (Conductor). "A Descriptive Study of the Musical Backgrounds of Orchestral Concert Attendees, with an Emphasis on Past Participation in School Music Programs." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505209/.
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This was a descriptive study that was completed to gather information about musical backgrounds of orchestral concert attendees, and to determine if those attendees perceived relationships between past participation in school music programs and current patronage of classical music concerts. Participants completed a survey about their musical experiences from childhood through adulthood, as well as memories from school music programs. Results and analysis of the responses identified common themes among participants' childhoods, their schooling and private lessons, experiences that served as gateways to classical music listening, the aesthetic benefits that they found in concert attendance, and negative responses that they had to music participation. Results also found a large number of pieces and composers that participants recalled from past participation in school music programs. Findings from this study analyze why these experiences were important to participants and why they might serve as motivation to attend classical music concerts or continue to support them. Implications of this study include suggestions for professional music organizations, school music educators, professional classical musicians, and church music directors. Suggestions for further research based on this study's findings are also included.
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Broughton, Mary C. "Music, movement and marimba : solo marimbists' bodily gesture in the perception and production of expressive performance." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.
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A combination of experimental and empirical studies investigate the assumption that musical expression is communicated in marimba performance through at least two channels – sound and action. A parallel is drawn between the bodily movements and gestures occurring with expressive musical sound, and gestures produced in concurrence with speech. Experiment 1 investigated the assumption that bodily movements and gestures can enhance or diminish the perception of expression and interest in solo marimba performance when presented audio-visually compared to presentation in audio-only form. Body movement is of particular relevance here as the expressive capabilities of the marimba are relatively restricted, and the movements required to play it are visible. Twenty-four musically-trained and 24 musically-untrained observers rated auditory-only and auditory-visual presentations of 20th Century solo marimba excerpts for perceived expressiveness and interest. Performances were given by a male and a female professional musician in projected (public performance expression) and deadpan (minimised expressive features) performance manners. As hypothesised, significantly higher ratings were recorded in response to projected performances than to deadpan. The hypothesised interaction between modality and performance manner was observed. Higher expressiveness ratings were observed for projected performances, and lower ratings were observed for deadpan performances when the presentation was audio-visual compared to audio-only. Higher interest ratings were observed for projected performances when the presentation was audio-visual. Musically-trained participants recorded higher ratings than musically-untrained observers upholding the final hypothesis. The results suggest that expressive functional bodily movements and bodily gestures play an important role in marimba performer-audience communication. Findings are relevant for both performers and educators. The aim of Experiment 2 was to investigate whether the results of Experiment 1, conducted in laboratory conditions, would generalise to an ecologically valid setting – a real concert. Experiment 2 investigated audience continuous self-report engagement responses from 21 participants collected using the portable Audience Response Facility (pARF). The stimulus material was a solo marimba piece performed in a live concert. A female musician performed two musically similar sections within the piece in two different performance manners (deadpan and projected). The second order standard deviation threshold method was used to analyse signal reliability. As hypothesised, mean engagement responses were greater in the projected sample than the deadpan sample. Reliable signal was only observed in the projected sample. Differences between deadpan and projected sample mean engagement responses may be due to expressive bodily movement from the performance manner manipulation; alternatively, serial order effect, necessitated by the concert setting, may be responsible. Such experimentation in ecologically valid settings enables understanding of audience perception of live music performance as it unfolds in time.
Expressive qualities of marimba players���� bodily gestures, witnessed in several projected and deadpan marimba performances in the stimulus material from Experiment 1 were analysed in Study 1. Laban Movement Analysis (LMA) observation techniques, involving embodied thinking and kinaesthetic mirroring, enabled analysis of force. Force is the third element of motion additional to temporal and spatial aspects for which technology measuring only kinematics can not account. Effort-shape analysis and notation described and recorded expressive qualities of marimba players’ bodily gestures at specific locations on the musical score. With basic training, professional percussionist performers were able to understand and apply effort-shape analysis and notation. This inspired confidence that effort-shape analysis and notation has potential as an analytical tool for performers, teachers and students.
The results of Experiments 1 and 2 and Study 1 lead to the formation of a theory of bodily gestures in marimba performance. This theory accounted for functional bodily movements and bodily gestures in marimba performance based on an embodied interpretation of the musical score. Combined experimental and empirical results indicate that bodily movements and gestures can enhance perception of expressive marimba performance and therefore warrant focussed attention in pedagogy and practice.
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Nguyen, Hang Thi Tuyet. "Audiences’ engagement with Twitter and Facebook Live during classical music performances: community and connectivity through live listening experiences." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6618.
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Music ensembles have made a concerted attempt to reach out through social media platforms to the communities surrounding their concert venues in order to attract young adults to replace aging audiences. By observing opera and symphony orchestra audience members’ social media engagement through Twitter and Facebook Live, this dissertation endeavors to better understand how technology has changed the culture of classical music concert attendance. The music organizations utilizing social media considered for this study include the Los Angeles Opera, San Francisco Opera, and Boston Lyric Opera for Tweet Seats, and the Detroit Symphony Orchestra on Facebook Live. Consideration of live-tweets, Facebook Live concerts and comments, and personal interviews with social media users and music ensemble personnel provides insight to the changing experience of concert attendance.
Interviews with online users who are actively participating in Tweet Seats on Twitter and chatrooms on Facebook Live during live-streamed concerts reveal that integrating social media during live performances enhances their sense of community, and their musical and social experiences. Participants indicate that prior classical music experience affects their motivation to participate and engage with other users. For many interviewees, affordability and VIP perks were initial incentives for their online involvement, but the overall experience for these users is complex. Interacting online allowed classical music fans to connect and/or reconnect to the ensembles and their music, and to an existing wired community, while negotiating with changes to the long-standing conventions of classical music culture. These alternative concert-going experiences made possible by social media reconstruct liveness within a digital world, cultivate classical music fandom, and enrich the live listening experience through collective engagement.
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Blue, Kevin J. "In/retrospection : an interactive audiovisual composition for ten-piece orchestra, electronically manipulated audio, and video." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1365789.
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In/Retrospection is an audiovisual composition employing audio and video in an interactive form, written for a ten-piece orchestra, electronically generated audio, and video that interact with each other in a variety of ways. Not only is the use of overall interaction employed, but each element of the composition is given its own space to develop and take its place in the forefront of the listeners/viewers focus, thus shifting attention to various aspects of the composition. In this way, the composition is neither a video with accompanying audio or audio with accompanying video, but a combination of both forms. On top of this, the electroacoustic portion of the piece, employing both traditional orchestral instruments as well as electronically manipulated sounds and music, adds yet another level of interaction and attention-shifting mechanics to the composition. The constant shifting of the listener's/viewer's focus is the fundamental idea explored in In/Retrospection.School of Music
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Padua, Daniel A. "The Family 'Playlist': Popular music, age and identity." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/110533/1/Daniel_Padua_Thesis.pdf.
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Popular music is central to the understanding of youth culture and has come to represent the so-called 'generation gap'. This thesis, however, argues that popular music is no longer just a signifier of generational tension. It is now an increasingly significant cultural resource that allows parents and their children to establish and maintain family relations. Using interviews from families who are fans of Queen or Taylor Swift, this research investigates how shared practices around popular music consumption contribute to a cohesive family identity.
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Broughton, Mary C. "Music, movement and marimba solo marimbists' bodily gesture in the perception and production of expressive performance /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/33189.
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Thesis (Ph.D.)--University of Western Sydney, 2008.A thesis presented to the University of Western Sydney, College of Arts, School of Psychology, in fulfilment of the requirements for the degree of . Includes bibliographies.
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Stanley, R. M. "A formative force : the BBC's role in the development of music and its audiences in Northern Ireland 1924-39." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546441.
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Price, Sarah M. "Risk and reward in classical music concert attendance : investigating the engagement of 'art' and 'entertainment' audiences with a regional symphony orchestra in the UK." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16628/.
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Classical music organisations across the UK are under increasing pressure to grow and diversify their audiences. ‘Populist’ concerts are designed to attract new audience members by being more accessible and informal than core classical concerts, with programmes structured around well-known short pieces within a broadly-defined classical repertoire. Populist programming has been criticised in mainstream press for ‘dumbing down’ classical music in favour of attracting larger audiences. This thesis investigates how the distinction between populist and core programming is perceived and negotiated by audiences for a regional symphony orchestra, in order to explore cultural hierarchies operating in classical music today. This thesis is the product of a three-year Collaborative Doctoral Award with the City of Birmingham Symphony Orchestra (CBSO). It was intended to supplement the orchestra’s existing knowledge of their audiences, whilst reflecting on the value and challenges of conducting academic research within the arts industry. Semi-structured interviews were carried out with 42 CBSO attenders from core and populist classical concerts, using Interpretative Phenomenological Analysis to investigate how participants evaluate and assimilate their experiences of live classical music. The interviews explored participants’ musical engagement over a lifetime, considering: routes into concert-going, the decision to attend, the value of concert-going to the individual, the live concert experience, and their views on the classical music industry. This qualitative study was complemented by quantitative analysis of the orchestra’s customer records and ticket sales data. This thesis questions the relevance of the inherited model of ‘barriers’ to concert-going in understanding non-attendance. Instead, the analysis reveals that the decision to attend can be understood through an effort-risk-reward framework; audience members assess the amount of effort needed to attend a concert against their confidence that it will be enjoyable. For all participants, enjoyment of a concert was comprised of a mixture of ‘aesthetic’ and ‘extrinsic’ forms of value, thus complicating traditional models of ‘art’ and ‘entertainment’ audiences. In highlighting the idiosyncratic nature of attendance, this analysis challenges the extent to which conclusions can be drawn about attenders’ motivations for concert-going from their ticket booking history alone. This study reveals that audience members believe there to be ‘right’ and ‘wrong’ ways of listening, and suggests that making concerts more informal and less elitist, and providing attenders with support to engage with the music, may be beneficial to attracting new audiences.
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Jones, Natalie. "Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.
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The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is gathered from the audience and singer’s perspective during performance and through observations made by studying the video documenting the performance.The sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented.
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de, Bruyn Moreira Annis. "Master's Thesis - Welcome to the Shed." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23206.
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Traditional media has a long history of marginalising women and ethnic minorities by trivialising their contributions and obscuring their involvement. Ethnic minorities have been kept out of top roles in films – as evidenced in 2016, with the #Oscarssowhite controversy, when not a single nomination was extended to a person of colour. Women, too, have been objectified and typecast in supporting and “love interest” roles. This marginalisation, whereby male and white are the norm and everyone else is “the other”, extends far beyond movies. YouTube has transformed from its humble beginnings of a video sharing site into one of the main video-based services, capable of extending producers’ voices across national boundaries. With this change, amateur contributors have professionalised their productions. Analysing four top-rated guitar review YouTube videos using critical discourse analysis, this thesis explores the overrepresentation of white men in online spaces for the reviewing of music instruments and looks specifically at subtle ways in which discourse is used to reinforce social exclusions online. Keywords: Gender, Feminism, Ethnicity, Minorities, YouTube, Guitar, Produsers, Music, Canon, Formats, Audiences
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Collie, Hazel. "Television for women : generation, gender and the everyday." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10478.
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This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with popular culture, but which has not theorised those relationships (Press, 1991; Moseley, 2002). The shifts and, indeed, continuities in the lives of different generations of British women are considered to gain a sense of the importance of generation in the production of identity. Significant differences arose between generations in terms of reflexivity and around questions of quality, value and taste as generations intersected with feminist and neoliberal cultures at different life stages. What was particularly interesting, however, was that despite the dramatic social change wrought by this post-war period, the narratives of women of different generations were surprisingly similar in terms of their everyday lives. Their memories largely centred around domestic relationships, and the women’s role as mother was often central to these. Following my investigation of the significance of motherhood to women’s production of gendered identity I consider the moments which disrupted that pattern and where women are enabled to conceive of an identity outside their familial role. Talk around pop music programming and desire had generational significance in the production of individual identities, again pointing to the importance of generation as an analytical category.
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Clarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke." University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
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Clarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture." [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
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XIAO, DAXIN. "Enhancing audience experience on Live music." Thesis, Uppsala universitet, Människa-datorinteraktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-362615.
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Increasingly, people attend live music event for diversified experiences that they could not have from listening to music at home or watching a broadcast on TV. Some seek to interact with their idol on site; others enjoy the collective action with audience members who share with them the same music preference. Enhancing audience experiences on live events, therefore, gains popularity. Research focus on crowd behaviors and the possibility of how implementing new technologies into this area. However, few studies have investigated have investigated the impact of individual promotion in the crowds by offering them a particular moment enabling them to feel more connected to the event. To deeply understand requirements from different stakeholders, audiences, and performers, a participatory workshop was conducted through which they acted as co-creators in the development process. Additionally, three qualitative evaluations were carried out to collect feedback on how the design system “HeartBeat” could enhance the audience’s experience. The research found that promoting individual impact and collective action are not conflicting with each other. Instead, they complement one another throughout the live session. “HeartBeat” is not only a design prototype that aims to increase audience experience but also a starting point for future design explorations in live music settings.
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Zubeck, Stella. "Not Fade Away : Enriching Music Festival Audience Experience." Research Showcase @ CMU, 2014. http://repository.cmu.edu/theses/77.
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The modern music festival is a site of interaction between up to hundreds of thousands of people, artists, vendors, musicians and technologies. Audiences travel thousands of miles and invest huge amounts of time, energy and money to attend them. Despite the increasing commercial demand for music festivals and the budding recognition of their social value to festivalgoers, humancentered design methods have not been applied to explore ways to increase the value of music festival experiences for audiences. The purpose of this project was twofold. First, I planned to develop a nuanced human-centered understanding of music festival audience experience. Based on that understanding, I then planned to design a solution that enhances meaningful, positive experiences for festivalgoers, especially during the periods of anticipation before and reflection after events. By combining insights pulled from research in music psychology, positive psychology and current neuroscience on happiness with qualitative data gathered from my own human-centered design research methods, I developed several robust conceptual models for the complex realities of audience experience at music festivals. Based those models, I then developed a web-based platform called Neverfade that acts both as a music festival history archive and a virtual space where individuals can curate, save and share their own music festival experiences.
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Legaspi, Melissa M. "Gender Role Identity and Audience Perceptions of Music Videos." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/9.
Full textAbstract:
The emergence in recent years of strong female musical artists asserting their sexuality as empowerment (Andsager & Roe, 2003; Gauntlett, 2002) has necessitated an evaluation of their depictions in music videos as perceived by contemporary target audiences. This study attempts to determine how viewers’ gender role identity, based upon gender schema theory (Bem, 1981; 1993) and measured through Bem Sex-Role Inventory (BSRI), relate to perceptions of female pop and hip hop artists’ music videos. It was hypothesized that sex-typed respondents would perceive portrayals as traditional more than other groups, whereas cross-sex typed respondents would perceive empowerment more than others groups. A convenience sample of 177 female undergraduate students was used for this cross-sectional study. Results did not support the hypotheses. Though some of the traditional items were found significant, no other significant differences emerged. Overall, gender role identity was ultimately found to have little relationship to perceptions of music video portrayals.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26975/1/Patrick_Tarrant_Thesis.pdf.
Full textAbstract:
Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
Full textAbstract:
Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Lindblom, Shari. "Audience connectivity in orchestral performances." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/20533/1/Shari_Lindblom_Thesis.pdf.
Full textAbstract:
With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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Lindblom, Shari. "Audience connectivity in orchestral performances." Queensland University of Technology, 2009. http://eprints.qut.edu.au/20533/.
Full textAbstract:
With the general global decline in the popularity and profitability of traditional orchestras, ways to build new audiences, develop new repertoires and create new networks and business partnerships are being explored. The aim of this thesis is to analyse the various elements of a proposed Orchestral Sustainability Framework and determine if and how these elements contribute to an increased audience connection with the music performance experience. Three main elements are explored in this Orchestral Sustainability Framework: 1. Social aspects of audience connection such as performer/audience interaction and ways of emotional engagement 2. Artistic aspects of audience connection such as the impact of poly-stylistic genres, blend of instruments and sounds and the importance of inter-sensory perception using visuals, theatre and music 3. Economic aspects of audience connection such as networking with business partnerships, impact of branding and marketing and the importance of distribution channels Audience reactions are central to this approach. Audiences from a variety of existing orchestral models have been researched through case studies, interviews, surveys, focus groups and participant observation. An orchestra, formed specifically for this project, performed to selected audiences and at the Brisbane Festival of Arts in 2006 and is now achieving commercialisation. The style of this orchestra is characterised by audience and performer interactivity, theatrical staging, visuals, spontaneity and less formality. Research has been conducted on this orchestral model, with contributions from the musicians, directors, producers, promoters and audiences. The research hypothesis proposes that a greater connectivity with the audience results in a more sustainable product, where sustainability is indicated by the orchestras’ ability to generate a sufficient amount of box office revenue and sponsorship. A variety of different models are considered which demonstrate orchestras that can achieve their mission of satisfying their audience, while being financial viable. The findings from the literature and the case studies clearly demonstrate the importance of many elements in the sustainability framework to achieve a greater level of audience connection with the orchestra.
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Sumner, Lott Marie. "Audience and style in nineteenth-century chamber music, c. 1830 to 1880 /." Digitized version, 2008. http://hdl.handle.net/1802/7668.
Full textAbstract:
Thesis (Ph. D)--University of Rochester, 2008.Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7668
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Godinho, José Carlos David Nunes. "Audience-listening and audience-performing : a study of the effect of context on mental representation of music." Thesis, UCL Institute of Education (IOE), 2000. http://eprints.ioe.ac.uk/19236/.
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This study is concerned with the effects of the context of musical experiences on the mental representation of music. The analysis is focused on the context of listening to recorded music in the classroom, with particular regard to strategies of listening through participation. Playing rhythms along with recorded music within an instrumental group (Audience-Performing) is therefore the main context of analysis, being developed in comparison to the context of listening in silence (Audience-Listening). Everyday situations give evidence of the power of context on the ways individuals think and mentally represent music. This acknowledgement of the contextual dependency of the mind and the apparent contextual weakness of audience-listening function as the background for the elaboration of the hypothesis that playing along with recorded music may enrich the learning context and affect mental representation in positive ways. The supporting theoretical framework is built in the light of connectionism. This theory from cognitive science allows a conception of mental schemata that preserve the links between object and context, and, thus, the meaningful mental coexistence of diverse types of information distributed through the brain. The contextual complexity of Audience-Performing is, in this sense, theoretically reinforced as an ecological enrichment with positive effects on both the acquisition and organisation of mental representation. The thesis is validated through an experiment, which compares a control condition of 125 children listening to a recorded piece of music with an experimental condition of 125 children playing rhythms along with the same recorded musical piece. After the treatment, both groups were tested on the identification of excerpts from the musical piece. As shown by the results of at-test used to compare the score means of both groups, the experimental group identified more excerpts with statistical significance. A second experiment replicated the findings and helped to support the argument that the context of playing along with recorded music in the classroom has a high probability of positively affecting mental representation of music.
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Olsson, Per. "”Ni på sittplats, är ni klara?” : Ett arbete om musikens påverkan på en ishockeypublik." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1658.
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The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the observation, all important incidents were noted so that potential connections could be made. Any influence on the audience by the music could not ascertain with this method. Finally, it could be ascertained that if a better picture of the reality is wanted, it will demand more observations and records of more games, as this work only analyses one period in one game.
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Rahal, Crawford Christine. "Effects of exposure to virtual audience environments on performing musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103538.
Full textAbstract:
The objective of the study was to determine if repeated exposure to a virtual reality (VR) audience environment would desensitize musicians suffering from performance anxiety when subsequently performing in front of a live audience. Sixteen university music students participated in the study. They performed in pretest and posttest concerts with live audiences. Each was assigned either to the VR condition or to a control waiting-list group. VR participants played during five weekly VR sessions, and were measured on a state anxiety inventory (SAI), heart rate and cortisol levels. Performances were recorded and evaluated by two professional musicians blindly. Other measures included a performance anxiety inventory (PAI) and the SAI. Results indicated that VR sessions elicited anxiety, as measured by cortisol levels. Also, mean PAI scores for both groups were lower at the posttest concert than at the pretest concert. Results suggest that VR exposure was not successful in helping musicians with performance anxiety.Cette recherche avait comme objectif de déterminer si des expositions répétées à un auditoire virtuel (réalité virtuelle) pouvait désensibiliser des musiciens souffrant d'anxiété de performance à jouer devant un auditoire réel. Seize étudiants en musique de niveau universitaire ont participé à la recherche. Ils ont participé à deux concerts devant des auditoires réels, à titre de prétest et de postest. Chaque participant fut assigné soit au groupe de contrôle ou au groupe exposé à l'auditoire virtuel. Les étudiants exposés à la réalité virtuelle ont joué une fois semaine pour un total de cinq sessions durant lesquelles les fréquences cardiaques et les taux de cortisol furent mesurés. Un questionnaire d'auto évaluation sur l'anxiété (State Anxiety inventory (SAI)) fut également administré. Les concerts furent enregistrés et évalués à l'aveugle par deux musiciens professionnels. Le questionnaire d'auto évaluation sur l'anxiété (SAI) et le questionnaire sur l'anxiété de performance (Performance Anxiety Inventory (PAI)) furent administrés. Les résultats ont démontré que les sessions de réalité virtuelle ont engendré de l'anxiété chez les participants, tel qu'indiqués par les taux de cortisol. Par ailleurs, les deux groupes ont eu des scores plus bas sur le questionnaire de l'anxiété de performance (PAI) lors du concert de contrôle (postest). Les résultats semblent suggérer que l'exposition à la réalité virtuelle n'a pas aidé les musiciens avec l'anxiété de performance.
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Anderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.
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Despite the rapidly growing body of critical academic writing around sound and music on screen, and studies of the increasing role of popular music within contemporary films, there has to date been little empirical exploration of audience responses to popular music in film. This thesis investigates how audiences hear and relate to popular music in romantic comedy soundtracks, specifically those of Love Actually (2003, dir. Richard Curtis), What Women Want (2000, dir. Nancy Meyer), and 10 Things I Hate About You (1999, dir. Gil Junger). Building upon a detailed critique of existing theoretical approaches to audiences’ engagements with popular music soundtracks, the findings in this study are based on two rounds of semi-structured interviews. Initially, the selected films were discussed in four focus group interviews, recruited according to age and gender (under-25-year-old men and women, and over-45-year-old men and women). Four subsequent individual interviews with one participant from each focus group concentrated on one particular sequence from Love Actually. A key assumption underlying theorised audience responses within literature on film music is a dichotomy between knowing and not-knowing pre-existing pop music in films: ‘knowing’ the music is seen to result in a more complex reading of a scene, as well as a more critical, distanced mode of engagement with the film; ‘not-knowing’, on the other hand, means the viewer is more immersed in the film and more likely to adopt its ideological messages uncritically (see for example Kassabian, 2001; J. Smith, 1998). The present research challenges this position: interview analyses indicate that patterns of talk are not as unified or consistent as these existing theoretical models suggest. Participants drew on several different modes of engagement in making sense of popular music in film, including: evaluating the music according to a diverse range of criteria and categorisations; relating the music to life stages and personal memories; and managing perceived involvement with the films and their soundtracks. These findings do not easily fall within any singular model of proposed audience responses to film music, but instead suggest that a new way of thinking about film audiences must account for taste processes, accommodate audiences’ vernacular categorisations, and incorporate a broader conception of ‘knowledge’ and ‘ways of knowing’.
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Zamorano, Yerai. "Performer-initiated and audience- controlled interaction effects in live-streamed music events." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-294143.
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Although live stream music events have been gaining popularity in recent years, there has not been much research on the impact the interactions unfolding during the event have on the user experience of the audience. This thesis focuses on the effects that a particular performer-initiated and audience-controlled interactivity, such as being able to vote for the next song, has during the music event. The user study followed an experimental between-subjects design to estimate the consequences of this interaction using a mobile prototype with two different conditions that differ in the level of interactivity available, from voting to excluding the vote. Data collection consisted of semi-structured interviews and demographic and UEQ questionnaires. The findings showed that the inclusion of interactivity had a positive influence on the audience experience. Furthermore, the interactive experience obtained noticeable better results in the UEQ analysis and was perceived significantly more motivating and engaging than the less interactive stream. Insights from the interviews corroborated these results, with most participants expressing interest in the experience and willingness to repeat in the future.Trots att livestreamade musikevenemang har ökat i popularitet de senaste åren har det inte gjorts mycket forskning angående vilken inverkan interaktioner som utvecklas under evenemanget har på publikens användarupplevelse. Denna avhandling fokuserar på effekterna som en viss artistinitierad och publikstyrd interaktivitet, som att kunna rösta fram nästa låt, har under musikevenemanget. Användarstudien följde en experimentell mellangruppsdesign för att undersöka konsekvenserna av denna interaktion med hjälp av en prototyp för mobiltelefon med två olika varianter som skiljer sig åt i tillgänglig interaktivitetsnivå, från omröstning till att omröstning utesluts. Datainsamlingen bestod av halvstrukturerade intervjuer och demografiska och UEQ-frågeformulär. Resultaten visade att inkluderingen av interaktivitet hade en positiv inverkan på publikens upplevelse. Dessutom fick den interaktiva upplevelsen märkbart bättre resultat i UEQ-analysen och upplevdes betydligt mer motiverande och engagerande än det mindre interaktiva eventet. Insikter från intervjuerna bekräftade dessa resultat. De flesta deltagare uttryckte ett intresse för upplevelsen och en vilja att upprepa det i framtiden.
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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.
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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.
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Stavrides, Michael G. "The interaction of audience-listening and composing : a study in Cyprus schools." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10006589/.
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Lehmann, Matthias. "„Für wen spielt die Musik?“." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-86926.
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Die Musikbetriebe der klassischen und der „Neuen“ Musik sehen sich gegenwärtig mit zwei publikumsbezogenen Problemen konfrontiert. Während „die Neue Musik einsam alt geworden ist“ und „das spärliche Publikum, das oft nur ein Konzert besucht, weil es zum Abonnement gehört, […] dieser Musik häufig verständnislos gegenüber [sitzt]“ (DIE ZEIT 43/2009: 57), droht das vergreiste und oftmals als „elitär“ etikettierte Publikum der klassischen Musik allmählich auszusterben. Diese Befunde beruhen methodisch oft auf subjektive, alltagspsychologische Betrachtungen der Konzertbesucher im Konzertsaal, was häufig zu einer Fehlinterpretation der tatsächlichen Situation führt (vgl. Dollase 1985: 371). Will man erfahren, ob es das typische Klassik- bzw. Neue-Musik-Publikum wirklich gibt und worin es sich vom jeweils anderen unterscheidet, so ist eine wissenschaftliche Auseinandersetzung mit dieser Problematik unumgänglich. Seit dem Boom der Kultursoziologie in den 1970er Jahren wurden der Konzertbesuch und der Musikgeschmack immer mehr zum Gegenstand soziologischer Forschungen. Ihre Ergebnisse führten zu der Auffassung, dass die musikalische und musikkulturelle Praxis nicht nur auf persönlich bevorzugte ästhetische Qualitäten, sondern auch auf die Zugehörigkeit zu sozialen Gruppen verweist (vgl. Neuhoff 2001: 752). Anzunehmen wäre deshalb, dass sich aufgrund der kulturellen Nähe der klassischen und Neuen Musik zueinander, auch ähnliche Publika herausgebildet haben. Dass sowohl theoretisch als auch empirisch vieles gegen diese Annahme spricht, soll die vorliegende Studie zeigen. Ausgehend von einer Publikumsbefragung des „Moritzburg Festivals“ für Kammermusik und des „Tonlagen-Festivals“ für zeitgenössische bzw. Neue Musik sollen im Folgenden die sozialen Strukturen der jeweiligen Publika aus der Perspektive der sozialen Ungleichheit vergleichend analysiert werden. (... aus der Einleitung)
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McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.
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Single, Nancy Ann. "An arts outreach/audience development program for schools of music in higher education." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392911317.
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Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.
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Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.
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Force, Kristin Alicia. "La Monte Young, Terry Riley, Steve Reich, and Philip Glass: The evolution of minimalism and audience response." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26636.
Full textAbstract:
Minimalism was a period in music throughout the postmodern twentieth century initiated by the compositions of La Monte Young (1935-- ), followed by those of Terry Riley (1935--), developed by Steve Reich (1936-- ), and evolved by Philip Glass (1937-- ). Minimalist music was influenced by the non-Western music of India, created by the constant repetition of musical patterns to generate a hypnotic state on the listener through stasis.
The size of the minimalist audience has continually increased from the New York City loft-based performances of La Monte Young to the opera house performances of Philip Glass. The composer's goals for an audience, his musical adaptation, and the effect of stasis contribute to the differences in audience size. These three factors are examined through each composer's biography, early and late compositions, and concert reviews of the premieres. The techniques utilized by each composer have become more effective in the creation of stasis from the compositions of Young to Glass. The biographies of the four minimalists, their compositions, and the premieres serve as an excellent source in the examination of the connection between the composer and the audience.
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Frantz, Elizabeth Lorraine. "Is Technology the Way Forward for Classical Music? Exploring Audience Engagement in the Digital Era." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429625667.
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Smialek, Eric. "Rethinking metal aesthetics: complexity, authenticity, and audience in Meshuggah's «I» and «Catch Thirtythr33»." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32597.
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The unusual complexity of two recent recordings by the extreme metal band Meshuggah has resulted in a strongly divided reception amongst fans, providing the opportunity to reconsider some common conceptions of metal aesthetics and to contribute to subtler ways of understanding taste and social demographics. Spanning twenty-one and forty-seven minutes respectively, I (2004) and Catch Thirtythr33 (2005) surprised fans with their unusual lengths (both recordings considered by the band to be single songs), complex song writing, and, with Catch Thirtythr33, the band's use of programmed drums. In response to interviewers' questions about each of these factors, the members of Meshuggah have made remarks that have been widely accepted among fans and rock journalists but that also seem to contradict their compositional practices and sometimes even their own previous statements. In my thesis, I investigate this discrepancy and its implications for how the concepts of authenticity and aesthetic values vary in metal discourses using concepts derived from critical theory, music theoretical analysis, and sociology. By uncovering several diverse aesthetic values through these discourses, I argue for an alternative to traditional class-based models of metal fans, one that will acknowledge the wide variety of aesthetic values found amongst metal audiences in this study.La complexité inhabituelle de deux enregistrements récents du groupe métal extrême Meshuggah a entraîné un profond schisme parmi les fans, offrant ainsi l'opportunité de reconsidérer certaines conceptions courantes concernant l'esthétique métal ainsi que de raffiner la compréhension du goût et de la démographie sociale. Durant vingt-et-une et quarante-sept minutes respectivement, I (2004) et Catch Thirtythr33 (2005) ont surpris les fans par leur durée inhabituelle (les deux enregistrements étant chacun considérés par le groupe comme chansons individuelles), leur écriture complexe et, avec Catch Thirtythr33, l'utilisation programmée de la batterie. En réponse aux questions des intervieweurs concernant chacun de ces trois facteurs, les membres de Meshuggah ont mis de l'avant des affirmations qui ont été bien reçues parmi les fans et les journalistes de rock mais qui semblent cependant aller à l'encontre de leurs pratiques compositionnelles habituelles, contredisant même, parfois, certaines de leurs affirmations antérieures. Cette thèse examine ces contradictions et ce que celles-ci impliquent dans la façon que varient les concepts d'authenticité et des valeurs esthétiques présents dans les discours sur le métal, utilisant des concepts issus de la théorie critique, de l'analyse musicale, ainsi que de la sociologie. En mettant en lumière les diverses valeurs esthétiques existant dans ces discours, je voudrais ici démontrer qu'il existe une alternative aux modèles traditionnels des fans du métal se basant sur la classe sociale et qui rendra compte de la diversité des valeurs esthétiques que l'on retrouve parmi le public du métal de c
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Lüneburg, Barbara. "A holistic view of the creative potential of performance practice in contemporary music." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7512.
Full textAbstract:
The creative potential and work of the performer in new music extends from the moment of conceptualising a concert to the moment of presenting it on stage and comprises many areas between and around those two points. In this thesis I explore the nature of this activity, from the act of playing itself to the commissioning and creating of new pieces, curatorial and collaborative tasks, and the actual concert presentation. I deliberately include interrelations between performer and music promoters, composers and the audience. This leads me to further areas of investigation, namely the question of the performer’s leadership, the charismatic bond with the audience and the creation of what I call “concert aura”. I do not strive to offer all-purpose formulae for the “perfect concert” or for the ideal collaboration. I investigate performance practice not as an absolute art but rather as something embedded in and shaped by social relations and society. Accordingly I understand this thesis as an empirically based study of the questions performers could ask, as well as processes in which they might want to engage, to find meaningful solutions for each new situation. Not all of the questions I raise will be new to each performer, but in their collaborative and concert practice many performers rely on a random, unsystematic, empirical understanding that has been gained by chance. In contrast, I attempt to draw a theoretical basis for my investigation from the fields of psychology, philosophy, media science and sociology, together with the evaluation of my own and other artists’ performance practice. In this way I hope to develop an academic foundation and a comprehensive, systematic approach that can be applied to different collaboration and concert situations. Part 1 of my thesis is concerned with theories and concepts relating to creativity, collaboration and presentation (concert aura and charisma) and aims to establish a firm theoretical basis for application in practice. Part 2 presents, discusses and analyses a selection of case studies from my own practice, considered in relation to the theories discussed in the first part. I conclude by offering guidelines to collaboration and giving a model example of how one might plan a future performance, aiming to create a Gesamtkunstwerk through the totality of the preparation and presentation, its social and psychological connotations. The thesis includes two DVDs with Quicktime Movies and two CDs with recordings of the compositions, commissioned as part of this research and discussed throughout the thesis. The Appendix contains three sample-CDs with an accompanying commentary which give an introduction to contemporary playing techniques for the acoustic and electronic violin and acoustic viola. This CD is intended as a guide for composers to get acquainted with the instruments and was given to each composer involved in this research.
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Murphy, Michael J. "Methodology for the production and delivery of generative music for the personal listener : systems for realtime generative music production." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9737.
Full textAbstract:
This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will be targeted specifically at the personal listening audience. As the largest current consumer of music in all genres of music, this represents the largest and most applicable market to develop such a system for. By considering how recorded media compares to concert performance, it is possible to ascertain which attributes of performance may be translated to a generative media. In addition, an outline of how fixed media has changed how people listen to music directly will be considered. By looking at these concepts an attempt is made to create a system which satisfies societies need for music which is not only commodified and easily approached, but also closes the qualitative gap between a static delivery medium and concert based output. This is approached within the context of contemporary classical music. Furthermore, by considering the development and fragmentation of the personal listening audience through technological developments, a methodology for the delivery of generative media to a range of devices will be investigated. A body of musical work will be created which attempts to realise these goals in a qualitative fashion. These works will span the development of the composition methodology, and the algorithmic methods covered. A conclusion based on the possibilities of each system with regard to its qualitative output will form the basis for evaluation. As this investigation is seated within the field of music, the musical output and composition methodology will be considered as the primary deciding factor of a system's feasibility. The contribution of this research to the field will be a methodology for the composition and production of algorithmic music in realtime, and a feasible method for the delivery of this music to a wide audience.
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Burgess, Jean E. "High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene." Thesis, The University of Queensland, 2004. https://eprints.qut.edu.au/28527/1/28527.pdf.
Full textAbstract:
The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is supported by a discussion of the conceptual relationships between cultural studies, high culture, and popular culture, and the methodological consequences of these relationships. In Chapter 2, a brief overview of interdisciplinary approaches to music reveals the central importance of subculture theory, and a detailed survey of the history of cultural studies research into music subcultures follows. Five investigative themes are identified as being crucial to all forms of contemporary subculture theory: the symbolic; the spatial; the social; the temporal; the ideological and political. Chapters 3 and 4 present the findings of the case study as they relate to these five investigative themes of contemporary subculture theory. Chapter 5 synthesises the findings of the previous two chapters, and argues that while participation in contemporary chamber music is not as intense or pervasive as is the case with the most researched street-based youth subcultures, it is nevertheless possible to describe Brisbane’s contemporary chamber music scene as a subculture. The dissertation closes by reflecting on the ways in which the subcultural analysis of contemporary chamber music has yielded some insight into the lived practices of high culture in contemporary urban contexts.