Journal articles on the topic 'Music audiences'
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1
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.
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Edlom, Jessica. "The Engagement Imperative: Experiences of Communication Practitioners’ Brand Work in the Music Industry." Media and Communication 10, no. 1 (January 20, 2022): 66–76. http://dx.doi.org/10.17645/mac.v10i1.4448.
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Due to societal trends, such as digitalisation, platformisation, and active and co-creative audiences, new organisational practices have surfaced. This study examines how communication practitioners experience their changing work in a new communication environment in which participatory cultural norms are becoming standard in strategic communication. I argue that the requirements to produce audience engagement affect the communication work and the communication workers. This study uses the popular music industry as a case, and is based on interviews with communication practitioners as well as on the qualitative text analysis of reports and newsletters from the music marketing firm Music Ally to the music industry. The study shows that communication practitioners within the industry experience a duty to create audience engagement—an engagement imperative. Although the practitioners are highly skilled in digital communication and social media, they often see the development of digital promotional culture as a challenge and express a lack of a deeper understanding of engagement. This study highlights implications for their professional roles, competences, and identities as well as ethical implications regarding the exploitation of audiences in communication work.
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Leković, Biljana, and Sanela Nikolić. "The Web 2.0 social media as a space for the creation of classical music experiences in the time of the pandemic: The case of the Belgrade Philharmonic Orchestra." New Sound, no. 61-1 (2023): 21–39. http://dx.doi.org/10.5937/newso23061021l.
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This paper shows how classical music left its canon-guaranteed spaces of the concert hall and stepped toward a broader community of audience using the virtual sphere of Web 2.0 social media tools, on the example of the work of the Belgrade Philharmonic Orchestra. We analyze how this orchestra uses social media to present and promote its repertoire and work during the period of pandemic measures and restrictions. The analysis indicates that in all its social media activities the orchestra was guided by the preservation of an autonomous aesthetic quality of classical music, as its value must remain present in whatever tools and formats an art institution presents itself. Various tactics of using social media tools were the opportunity to position classical music from the art of performance into a system of mediated and information-distributed culture along with the development of participatory turn as a wider audience engagement in classical music through producing social media user-generated content. The orchestra's use of social media during the time of the pandemic reflects several ways of changing classical music practice: connecting to new audiences in new ways, moving out of the concert hall, redefining the community relevance of a classical music institution, and initiating paths for collaboration between performers and the audiences.
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Rademacher, Wiebke. "Beethoven's Leonore in Berlin around 1900: On Contextual Factors of Music Performances as Source Material for Past Emotional Practices." Cultural History 7, no. 2 (October 2018): 167–86. http://dx.doi.org/10.3366/cult.2018.0172.
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The last decades have seen a steady increase of historians and historical musicologists whose research focuses on concert audiences and music performances. While previous research on music predominantly dealt with the analysis of works, their ‘great’ composers, and musical styles, now musical events and their audiences have more and more come into consideration. Scholars have tried, for instance, to explain how the ascending bourgeoisie influenced various parameters of concert life in the eighteenth and nineteenth century. They have examined changing behavioural patterns of the audience (Müller 2015, Johnson 1994) and a ‘transformation of taste’ (Weber 2000). Most of the studies, however, do not really attempt to explain what role the emotional impact of music itself played. How did audiences experience different musical styles in different contexts? This article approaches this rather difficult question by applying a comparative methodology. The starting point is the observation that the performance contexts of ‘classical’ music were far from being homogeneous. By examining four performances of Ludwig van Beethoven's Leonora Overture No. 3 in highly different social contexts in Berlin from 1895–1907 — ranging from gala concerts of working class choirs, to open air military concerts, to performances in bourgeois circles — this article attempts to illustrate how the analysis of concert contexts can serve as a means to better understand the emotional experiences of concert audiences.
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Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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Wiharyanti, Theresia Ratna, Totok Sumaryanto Florentinus, and Udi Utomo. "Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 205–12. http://dx.doi.org/10.15294/harmonia.v20i2.28059.
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Dangdut Koplo music performances are favored and watched by the public. This is able to generate an aesthetic response of the audiences, which is shown by their behavior. This study aims to examine the aesthetic response of audience behavior of dangdut koplo music performances in Pekalongan. This research uses qualitative methods, data collection using observation, interview, and document study techniques. Data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used is triangulation, data sources, and theory. The results showed that the aesthetic response in the audience behavior of dangdut koplo music performance in Kalirejo village, Talun, Pekalongan Regency had a positive response that led to behavior, such as (1) dancing with friends in groups or alone; (2) Menyawer (giving some money); and (3) notice the show schedule. Based on the research results, it can be suggested: (1) can broaden the insight and description of the development of music, especially dangdut koplo music in the present era, (2) can be taken into consideration how the impact of dangdut koplo on the behavior of dangdut koplo music performances.
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Viega, Michael. "Evaluation for Arts-Based Research Performance: Audience Perceptions of Rising from the Ashes." Journal of Music Therapy 59, no. 1 (November 17, 2021): 62–86. http://dx.doi.org/10.1093/jmt/thab018.
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Abstract The purpose of the study is to understand how audiences evaluated an arts-based research performance called Rising from the Ashes. Audience evaluation promises egalitarian and pluralistic perspectives that may assist artist-as-researchers with gaining new insight into out of performative arts-based research results. Rising from the Ashes was performed several times between 2015 and 2019. Evaluations were provided to six different audiences and consisted of rating-scale and open-ended questions based on general criteria for judging arts-based research: incisiveness, concision, generativity, social significance, evocation and illumination, and coherence. Descriptive rating scores and thematic analysis of open-ended questions aided in the artist-as-researcher’s understanding of how audiences responded to the performances. Descriptive scores showed that audiences strongly agreed that the performance was concise, incisive, and evocative and illuminating. The performance was less likely to support audiences’ understanding of the social issues addressed in the study, which implied decreased generativity and social significance. Open-ended questions enhanced and supported rating-scale responses as well as revealed specific elements of the performance that addressed its coherence. The results deepened the artists-as-researcher’s understanding of potential strengths and limitations of Rising from the Ashes based on the audience evaluations. Implications for arts-based research evaluation in music therapy, particularly related to music performance, are discussed.
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Liu, Chen, and Rong Yang. "Consuming popular songs online: Phoenix Legend’s audiences and Douban Music." cultural geographies 24, no. 2 (January 3, 2017): 295–310. http://dx.doi.org/10.1177/1474474016684125.
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This article explores the creative consumption of popular music and explains how audiences involve their place-based emotions within their representations of popular music in an everyday setting, drawing on a qualitative study on people’s interpretations of Phoenix Legend (a popular music duo in mainland China) and its music. We collected the texts created by Phoenix Legend’s audiences from Douban Music ( http://music.douban.com/ ), a Chinese online music forum. Our analysis focuses on how fans, non-fans and anti-fans interpret and re-write the meanings of Phoenix Legend and its songs emotionally and how these interpretations shape and are shaped by these audiences’ senses of self and place. The key finding of this article argues that through the consumer-to-consumer network provided by social media (Douban Music), the rural–urban division, ethnic cultures and the role of Chinese nationalism in the global marketplace are generated by audiences’ creative writings and their interactions with other consumers. Moreover, we suggest that anti-fans’ and non-fans’ emotional engagement within music consumption and their interactions should be paid more attentions to.
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Kholis, Nur, Galuh Ayu Savitri, and Nisrin Husna. "The Use of Social Media (Instagram) for the Radio Industry (Content and Marketing Strategies to Increase Audience Loyalty)." E3S Web of Conferences 426 (2023): 02031. http://dx.doi.org/10.1051/e3sconf/202342602031.
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Digitalization affects conventional businesses such as radio. This research focuses on solving radio problems in the digital era, especially in audience loyalty. Radio must compete with Spotify, YouTube Music, Apple Music, etc. This competition is in several central areas: audience and advertising. Radio must be more attractive to stay heard by audiences. The level of interest of audiences to keep listening to the radio will affect advertisers’ trust. The researcher argues that the solution is social media, marketing, and content strategy. Social media is the right tool to solve this problem, considering that radio competitors also use the same platform. In addition, radio must implement marketing strategies integrated with social media content. The combination of them will increase audience loyalty. Researchers use descriptive qualitative research methods through in-depth interviews with purposive sampling with radio media practitioners in Malang. Research shows that communication strategy points are differentiation, attractiveness, and engagement. Meanwhile, the marketing and content strategy is setting the radio announcer as KOL, collaborating with influencers to engage in content, creating visual content related to the programs, creating conversation, and social media should be managed independently. The more intense the communication between radio and audienceS, the stronger audience loyalty will be.
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Lauer, Joanna. "The Dilemma of Empty Halls." Musical Offerings 14, no. 2 (2023): 53–66. http://dx.doi.org/10.15385/jmo.2023.14.2.1.
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Today, live classical concert attendance is low, a fact which threatens the careers of professional musicians. This paper examines recent statistics of classical concert attendance, theories as to why attendance rates are low, marketing methods for target audiences, and finally, recommendations to solve the dilemma of empty concert halls. To encourage concert attendance, classical music must be tastefully marketed to present-day audiences through the experience of technically excellent, musical, and interesting live performances. Ultimately, the relationship between art and its audience (the consumer) reveals that the key to the dilemma is the audience.
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Vardanyan, Olga. "New communication strategies of modern classical artists." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 50–59. http://dx.doi.org/10.31318/2522-4190.2023.138.294691.
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Relevance of the study: Along with the crisis of the "aging audience" of classical music in concert halls, which is noted by researchers and performers, in the last two years there has been a tendency to increase listening to classical music on digital platforms. The fact that, on the one hand, we are talking about the crisis of classical music audience reduction and, on the other hand, there are opposite trends indicating an increase in its popularity, actualizes the study of the communication mechanisms of classical music performers with the audience through digital tools.
Main objective of the study: To identify the trends, principles and mechanisms that have led to the recent increase in the popularity of classical music, particularly through digital tools on social media platforms such as YouTube and Instagram.
Methodology: Using the concept of "communication strategy" from the field of strategic management, we analyze the trends observed in the process of transformation of the way classical music performers communicate with the audience in the context of the evolution of media technologies. The study also used empirical (data collection, observation), general scientific (analysis) and theoretical (generalization, systematization) methods.
Results and conclusions. Modern media platforms have become a great resource for the promotion of a cultural product. They offer opportunities to reach a multi-billion audience composed of different segments, analytical tools and feedback. The mediatization of cultural space and changes in the psychology of perception of cultural products among new generations require new strategies of communication of classical music performers with the audience. The answer lies in the tendency to create audiovisual content that can be broadly divided into those in which classical music is the central object and those in which it is the background. Reels and Shorts, short videos that use classical music as a background, have become a means of expanding audiences by attracting listeners who were not previously interested in classical music. Audiovisual content featuring classical music is evolving from the traditional concert video to the visualization of music through electronic means, plastic arts (photography, painting) and the creation of videos with a storyline (cinematography). An important trend contributing to the growth of classical music audiences is the combination of classical repertoire with more popular film or cartoon music.
The study of communication channels and methods of modern classical music performers with the audience is important in connection with the development of the classical music industry in Ukraine and the development of a strategy for the promotion of Ukrainian classical music products in the world market of music production.
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CODDINGTON, AMY. "A “Fresh New Music Mix” for the 1980s: Broadcasting Multiculturalism on Crossover Radio." Journal of the Society for American Music 15, no. 1 (February 2021): 30–59. http://dx.doi.org/10.1017/s1752196320000462.
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AbstractThis article examines the racial politics of radio programming in the United States by focusing on the development of a new radio format in the late 1980s. This new format, which the radio industry referred to as Crossover, attracted a coalition audience of Black, white, and Latinx listeners by playing up-tempo dance, R&B, and pop music. In so doing, this format challenged the segregated structure of the radio industry, acknowledging the presence and tastes of Latinx audiences and commodifying young multicultural audiences. The success of this format influenced programming on Top 40 radio stations, bringing the sounds of multicultural publics into the US popular music mainstream. Among these sounds was hip hop, which Crossover programmers embraced for its ability to appeal across diverse audiences; these stations helped facilitate the growth of this burgeoning genre. But like many forms of liberal multiculturalism in the 1980s and 1990s, the racial politics of these stations were complex, as they decentered individual minority groups’ interests in the name of colorblindness and inclusion.
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Ko, Sunha, and Jongwoo Jun. "Consumption Motivation and Consumption Behavior of Korean Pop Music Consumers." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 863–71. http://dx.doi.org/10.33645/cnc.2023.10.45.10.863.
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The purpose of this paper is to understand the consumption motivation and consumption behavior of Korean pop music for Generation Z, the main domestic consumer who consumes Korean pop music. Since popular music is a thoroughly audience-centered culture, the tastes and needs of the audience have a profound influence on the production of popular music. The related industry is paying attention to Generation Z as the main acceptance group of Korean pop music and the main consumer group that has led to global interest in Korean pop music. They are now the main consumers of the music and entertainment industries and see them as a new group of consumers who will exert a huge influence on the future market at home and abroad. For the growth and development of Korean pop music, research should be conducted to identify the main motivational and behavioral characteristics of Generation Z consumers, a group of domestic audiences with high exposure and acceptance rates to Korean pop music.
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Sánchez, Rebeca, and Luis Gomez-Agustina. "Acoustic effects of elevated platforms for standing audiences in an indoor music venue." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 6 (February 1, 2023): 1963–74. http://dx.doi.org/10.3397/in_2022_0278.
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The live music industry has grown significantly over the last decade, making live music not only an important component of the cultural scene but also a major economic engine. There is little research or guidance regarding acoustic design for amplified music venues, especially for improvements in the design of the indoor standing audience area. This investigation aimed to determine the acoustic effects and potential benefits to the audience, of elevated platforms in an indoor music venue. Objective parameters such as reverberation (T30), Early Decay Time (EDT), Clarity (C80), Definition (D50), and Sound Pressure Levels (SPL) were analysed through computer simulations for twelve platform arrangements of different platform heights and audience densities. Results from all possible combinations were compared and evaluated for improved acoustical and sound quality. It was shown that the use of elevated platforms reduced reverberation time parameters and increased C80 and D50. These changes in acoustic parameters appeared also to be dependent on audience density. It is expected that the novel information and guidance provided by this research will assist acoustic designers, sound engineers, and other relevant decision-makers to improve the audio-visual experience of standing audiences.
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Hickson, Jim. "Examining the success of Malian music as world music." African Music : Journal of the International Library of African Music 11, no. 3 (February 28, 2022): 55–70. http://dx.doi.org/10.21504/amj.v12i1.2430.
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Malian music is ubiquitous in world music. Indeed, Malian artists consistently appear more often and rank higher in world music record charts than artists of any other nationality. While the concept and industry of world music and the histories and workings of Malian music have been examined at length in the past, scholarship on the intersection of the two has been sparse. This article investigates how various marketing techniques and narrative tropes have been used to secure Mali’s on-going presence within world music. Tuareg essouf band Tinariwen is introduced as a specific case study to allow exploration into themes of audience familiarity and unfamiliarity; the use of wider narratives to promote music; and the role of cultural brokers in this process. Malian music can be considered ideal for the world music markets, with musical, narrative and political forces aligning in an optimal manner to facilitate the most effective strategies of marketing towards world music audiences. By studying the dominance of Malian music in world music, we can examine more clearly the mechanics of the industry, but also the attitudes and behaviours of the world music audience and the artistic, industrial and even institutional practices and processes that define world music as a whole.
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Landy, Leigh. "Editorial: Bringing New Music to New Audiences." Organised Sound 24, no. 3 (November 29, 2019): 225–27. http://dx.doi.org/10.1017/s1355771819000293.
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Wang, Cai. "Research on the Advantages and Feasibility of Music Headset Live." Lifelong Education 9, no. 6 (September 28, 2020): 209. http://dx.doi.org/10.18282/le.v9i6.1345.
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Our team adopts a new form of live music, which is to enjoy live music with headphones. This new form of analysis can combine the advantages of live music and recorded music. The audience can adjust the volume, reverberation, etc. according to their needs. This high-quality new format can attract the audience to know some truly outstanding original musicians, bands and music, not just through the "star effect". In addition, Our team studies the great commercial value of this new form of musical performance. Audiences can rent or buy high-quality headphones to listen to high-quality concerts, which means that practitioners can cooperate with some headphone brands. At the same time, the live performance was recorded as a separate track at the end. Mixers will make them into recordings, and practitioners can collect royalties from them.
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Nardi, Carlo, Hillegonda C. Rietveld, and William Echard. "Introduction: Popular Music Performance." IASPM Journal 4, no. 1 (February 16, 2014): 1–4. http://dx.doi.org/10.5429/694.
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The critical exploration of performance problematizes the theorization of music signification. The contributions in this special issue investigate performance both from the perspective of musicians and from that of their audience by stressing the role of values, norms, meaning and aesthetics in their interaction. In addition, this special issue concerns the relationship between performance and place; performance does not only happen at a place, but is also of and about a place, actively contributing to it and shaping it. Furthermore, the roles of the DJ, music producer and music performer blur in multi-media stage performance settings, while listeners are increasingly playing the role of 'prosumer', thereby actively taking part in a performance ensemble that extends from physically engaged audiences to online video appearances by fans.
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Gibson, Chris. "Music Festivals: Transformations in Non-Metropolitan Places, and in Creative Work." Media International Australia 123, no. 1 (May 2007): 65–81. http://dx.doi.org/10.1177/1329878x0712300108.
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This paper addresses the theme of this special issue of MIA in the context of music festivals. It discusses the continuing growth of music festivals as avenues for musical performance, and for regional economic development, and considers what festivals mean for musicians in terms of changing audience demographics and the conditions of work. Festivals are increasingly important for musicians in building audiences and incomes. They have proliferated particularly in rural, coastal and ex-urban parts of Australia, linked to day-tripper and short-stay tourism and the wider socioeconomic transition of those places. Festivals both reflect and contribute to social and cultural changes, such as the diffusion of musical genres with specialist audiences, inward migration of particular demographic groups and shifting place identities. They also offer new opportunities for places seeking to develop tourism, and local music and performance-based industries. This paper explains these trends, and draws on results from a recent large research exercise that sought to document the extent and impact of festivals. Although they are not new, festivals continue to reconfigure musical touring networks, audiences and performance opportunities. Such reconfigurations have occurred with less public fanfare than developments surrounding digital technology and downloading cultures, but their influence on the working lives of musicians is no less profound.
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Zieba, Marta, and John O’Hagan. "Audiences for Orchestral Music: Challenges New and Old. The Cases of Germany and Poland." Polish Journal of the Arts and Culture New Series, no. 18 (2/2023) (October 2023): 51–72. http://dx.doi.org/10.4467/24506249pj.23.014.19555.
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Technological change has impacted orchestral music for over a century, with the demise of orchestral concert audiences in their familiar form being considered by some at various times to be under threat. Access for classical music audiences however has increased over recent decades through radio, albums, and tapes/CDs/DVDs, thereby increasing the potential for large increases in classical music listener/viewer audiences. In the case of albums and tapes/CDs/DVDs, audiences have control over what and when they tune in, whereas in the case of radio, the schedule is fixed for them. Besides, in-hall audiences, adjusted for population, at orchestral concerts in Germany and Poland have been increasing, but a small number of orchestras in each country dominate. Technology has now made possible, through the live streaming of concerts, not just into cinemas and similar venues but also directly into homes, a potential substantial increase in live listening/viewing audiences; the Berliner Philharmoniker is leading the way in this regard.
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He, Yulin. "The role of John Williams’ music in Schindler’s List and Saving Private Ryan." SHS Web of Conferences 171 (2023): 03005. http://dx.doi.org/10.1051/shsconf/202317103005.
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It can be said that music is an essential part of a film, and a good commercial film has good music to render it to a large extent. There are three levels of music appreciation in film: analyzing the music itself, incorporating the music into the film world, and describing the audience experience. The Second World War is unprecedented in human history, and the film industry has made a variety of films to commemorate and reflect on this war, so that future generations will never have to repeat the mistakes. Spielberg’s Schindler’s List and Saving Private Ryan, for example, both presented the tragic history of the Second World War to audiences in documentary form. This article will critically analyze the role of music in these two films.
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Danielsen, Anne, and Yngvar Kjus. "The mediated festival: Live music as trigger of streaming and social media engagement." Convergence: The International Journal of Research into New Media Technologies 25, no. 4 (July 25, 2017): 714–34. http://dx.doi.org/10.1177/1354856517721808.
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Live music events are increasingly saturated with and mediated via the online and mobile devices of the audience. This article explores patterns in this media use surrounding the Øya festival in Norway and focuses, in particular, on music streaming and social media activity. It presents statistical analysis of listening sessions via the streaming service Wimp and social interactions via the micro-blogging platform Twitter. The juxtaposition of these unique access points allows the analysis to explore the impact of physical live concerts on the digital music experience. It also enables a nuanced examination of how the festival audience responds to different artist segments, from international headliners to local acts. One key finding is that local artists that are positively evaluated via Twitter have the greatest boost in subsequent music streaming. The article argues that in-depth studies of the intersection of live and mediated music are essential to understanding the encounter between artists and audiences that is facilitated by contemporary live music events.
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Graham, Stephen. "Kammer Klang, Café Oto, London: 3 November and 1 December 2015." Tempo 70, no. 276 (April 2016): 76–78. http://dx.doi.org/10.1017/s0040298215001059.
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Kammer Klang is enjoying a purple patch. Based in East London's Café Oto, the series sits in a sweet spot between the rougher-edged music usually played at Oto and the more conventionally white cubed silence of new music. Audiences are generally relaxed in the setting, despite creaking chairs. The series' mixed programmes gel, with the distance between various featured musics growing ever smaller as cultural demographics continue to shift.
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Umar Rauf, Rita Mardhatillah binti, Nurulhamimi Abdul Rahman, Faezah Hamdan, and Adee Arifin. "Authenticity in Music." Randwick International of Social Science Journal 4, no. 3 (July 31, 2023): 749–52. http://dx.doi.org/10.47175/rissj.v4i3.773.
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Authenticity in music is a complex that has intrigued musicians, scholars, and audiences for centuries. It refers to the perceived genuineness, sincerity, and originality of the musical expression, reflecting the artist's ability to convey genuine emotions and experiences. While authenticity is a subjective and evolving notion, it plays an essential role in shaping the listener's connection with the music and the artist. In the contemporary music, the pursuit of authenticity has been both celebrated and challenged. On one hand, artists who can genuinely express their thoughts and emotions through their craft often resonate deeply with audiences, fostering a sense of connection and understanding. This authenticity can be achieved through various means, such as personal storytelling, vulnerability, or innovative approaches to musical composition
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Theorell, Töres, and Eva Bojner Horwitz. "Emotional Effects of Live and Recorded Music in Various Audiences and Listening Situations." Medicines 6, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.3390/medicines6010016.
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Background: We assume that the emotional response to music would correspond to increased levels of arousal, and that the valence of the music exemplified by sad or joyful music would be reflected in the listener, and that calming music would reduce anxiety. This study attempts to characterize the emotional responses to different kinds of listening. Methods: Three experiments were conducted: (1) School children were exposed to live chamber music, (2) two adult audiences who were accustomed to classical music as a genre listened to chamber music, and (3) elderly listeners were exposed to recorded classical music of a sad character with and without words. Participants were asked to fill in visual analogue 10-cm scales along dimensions of: tiredness-arousal, sadness-joy, and anxiety-calmness. Ratings before exposure were compared with ratings after exposure. Results: The strongest positive emotional responses were observed in the live performances for listeners accustomed to classical music. School children tended to become tired during the concert, particularly the youngest children. There was a calming effect among school children, but in the oldest category increased joy was reported. Conclusions: The findings indicate that emotional response to music varies by type of audience (young, old, experience of classical music), and live or recorded music.
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Palkki, Joshua, Daniel J. Albert, Stuart Chapman Hill, and Ryan D. Shaw. "20 Years of the MENC Biennial Conference." Journal of Research in Music Education 64, no. 1 (January 7, 2016): 14–28. http://dx.doi.org/10.1177/0022429415621896.
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The purpose of this study was to investigate the content and intended audiences for educational sessions offered at MENC biennial conferences in order to illuminate trends and topics in professional development. The researchers performed a content analysis of each session ( N = 2,593) using program booklets from conferences between 1988 and 2008, creating a coding scheme with separate codes for audience focus and session content. After establishing sufficient interjudge agreement, the researchers coded all educational sessions offered at the conferences from 1988 to 2008. Results indicated that the number of sessions targeted at specific audiences (e.g., choral teachers only) remained small relative to those targeting broader audiences. Content coding revealed large increases in the number of sessions focused on technology and a slight decrease in the number of sessions focused on traditional large ensembles. Session content sometimes followed professional trends (e.g., the inception of the National Standards in 1994) but did not reflect increased attention in the profession to topics such as creativity and students with exceptionalities. These findings have important implications for those planning state and national music education conferences and for music educators who attend these professional development events.
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BLAKE, DAVID. "“Everybody Makes Up Folksongs”: Pete Seeger's 1950s College Concerts and the Democratic Potential of Folk Music." Journal of the Society for American Music 12, no. 4 (November 2018): 383–424. http://dx.doi.org/10.1017/s1752196318000342.
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AbstractDuring the 1950s, while blacklisted from the music industry and investigated by the House Un-American Activities Committee, Pete Seeger performed at colleges and universities across the United States. Although these concerts were crucial to his political work during the decade—Seeger repeatedly called them “the most important job I ever did in my life”—they have been neglected in scholarship. This article positions Seeger's campus concerts as crucial sites for demonstrating the democratic potential of folk music. Seeger sought to teach his audiences that folk music was an everyday activity created by people around the world, as well as an inherently participatory genre that could model civic cooperation. The democratic and educational purposes of his concerts marked a change from the labor advocacy of his 1940s work, and reflected ideas that he was then promulgating in hisSing Out!columns and Folkways Records. This essay examines his appearance at Cornell University on December 6, 1954 to illustrate three dimensions of Seeger's conception of democracy: audience participation, pluralistic repertoire, and rejection of the music industry. While illustrating Seeger's political actions, the Cornell concert also surfaces a tension between democratic participation and the class dynamics inherent in performing folk music for collegiate audiences.
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HUEBNER, STEVEN. "OPERA AUDIENCES IN PARIS 1830–1870." Music and Letters 70, no. 2 (1989): 206–25. http://dx.doi.org/10.1093/ml/70.2.206.
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Wang, Shuang. "Music, social media and public pedagogy: indie music in the post-Cantopop epoch." Asian Education and Development Studies 7, no. 1 (January 2, 2018): 42–52. http://dx.doi.org/10.1108/aeds-03-2017-0022.
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Purpose Hong Kong’s musical scene is rapidly changing along with the evolving media landscape. The purpose of this paper is to examine the new way of Cantopop production and dissemination in the new media ecosystem. Furthermore, this study calls for a reconceptualization of the process of Cantopop listening and sharing as a form of public pedagogy within the online public space. Design/methodology/approach Based on the investigation into two of the leading local indie bands Kolor and Supper Moment, this study explores the implications that social media and participatory culture have for these indie bands. In this study, the music content and promotion strategy of the two bands, as well as the role of their online audiences are studied. Findings Social media leads to more democratic cultural production and distribution. The strong online audience engagement serves as the foundation for the popularity of the two Cantopop indie bands. In their music practice, the lyrics appear to be in alignment with the goals and interests of the listeners, which gives rise to greater participation by its audiences through social media. Under the context of interactive internet culture, listening and sharing Cantopop can be seen as an educational force, thus reinforcing the values and attitudes. Originality/value While many important works have examined various aspects of Cantopop, little attention has been paid to the indie bands. This paper attempts to reveal the recent development of local indie bands as a site under the interactive internet culture. It also gives insights to the significant role of Cantopop played in public pedagogy.
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Chen, Xuan. "Surveying the music playback experience of museum audiences based on perceived quality and perceived value." Electronic Library 37, no. 5 (October 7, 2019): 878–92. http://dx.doi.org/10.1108/el-03-2019-0061.
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Purpose The improvement of museum service quality and efficiency is a hot issue in recent years. This paper aims to explore the influencing factors of museum audience satisfaction with music playing experience and provide empirical support for the improvement of museum service quality. Design/methodology/approach In this study, first, the basic theory of customer satisfaction and the basic theory of structural equation model are introduced. Different types of music have different effects on audience experience. At the same time, for different types of museums, different exhibition halls in the same museum and different types of exhibitions, the use of music should be tailored to local conditions. Then, a questionnaire survey is conducted to investigate the satisfaction of the audience of Hunan Museum with their music playing experience, and the survey data are collected and sorted out. Structural equation model (SEM) is used to study the customer satisfaction of Museum audiences' music playing experience, so as to find out the factors that have the greatest impact on the satisfaction and put forward corresponding improvement suggestions. Findings The results show that perceived value and perceived quality have the greatest impact on customer satisfaction. Research limitations/implications Museum audience satisfaction model involves many variables and has complex relationships. Therefore, there are still many shortcomings in this study. Practical implications Therefore, this study has important practical significance for museums to serve the society, improve the level of exhibition and realize their own value. By improving the exhibition environment and paying attention to the complaints of the audience, the satisfaction of the audience can be improved. Originality/value The structural equation model is applied to the study of museum customer satisfaction.
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Banjo, Omotayo O., and Kesha Morant Williams. "Behind the Music: Exploring Audiences’ Attitudes toward Gospel and Contemporary Christian Music." Journal of Communication and Religion 37, no. 3 (2014): 117–38. http://dx.doi.org/10.5840/jcr201437323.
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A number of studies across disciplines have examined the influence of popular music on identity; however, comparative study of Christian music genres, which are clearly racially marked, is lacking. Based on Tajfel and Turner’s social identity perspective, this article examines the ways in which Black listeners of Black gospel and White listeners of Contemporary Christian music (CCM), evaluate themselves and one another. Although there have been popular speculations about these differences, there is no empirical evidence of these assumptions. Findings suggest that while in-group members are generally more favorable toward their music than the out-group, privilege allows for Black listeners to be more open toward White majority music while the opposite is not true.
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Siauw, Glenity Marchella, and Lambok Hermanto Sihombing. "CHARACTERISTICS AND STRUCTURES OF STORYTELLING TECHNIQUES IN CRIMINAL, HORROR, AND MYSTERY GENRES OF YOUTUBERS STORYTELLERS." Metacommunication; Journal of Communication Studies 7, no. 2 (October 13, 2022): 38. http://dx.doi.org/10.20527/mc.v7i2.13165.
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YouTube is the biggest platform of sharing and watching online videos that enable everyone to have their own channel and upload their own contents. As YouTube attracts people’s interest, this research explores the characteristics and structure of storytelling techniques on storyteller YouTuber. This research analyzes how the storyteller YouTubers use storytelling techniques to deliver the story and how are the audience’s opinion towards the storytelling techniques of the YouTubers, focusing on three big YouTube channels, which is Nessie Judge. This research discovers the unique characteristics of each YouTuber that differentiate them one another. As the data, researcher chooses three videos of each YouTuber between January 2021 to November 2021 to analyze the storytelling techniques, audiences’ reception through the comment section and used sounds or music in the video. To answer the research questions, researcher applied three theories, which are Storytelling Theory, Audience Reception Theory and Sound Theory. The result of the research shows that these three YouTubers have their own unique characteristic that attracts the audiences’ attention to keep watching their contents.
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WARD-GRIFFIN, DANIELLE. "Up Close and Personal: Opera and Television Broadcasting in the 1950s." Journal of the Society for American Music 13, no. 2 (May 2019): 216–31. http://dx.doi.org/10.1017/s1752196319000087.
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AbstractThis article examines early pedagogical experiments in opera on television that were meant to attract new audiences in the 1950s. The aesthetics of early television have often been thought to run contrary to opera, particularly in its grander iterations, but I argue that television producers capitalized upon the traits of early television to personalize opera, both on and off screen. Comparing two NBC pedagogical initiatives—a 1958 Omnibus program starring Leonard Bernstein and the 1956–57 visits of the NBC Opera Company to Saint Mary's College (South Bend, Indiana)—I explore how these efforts were meant to approximate the opera fan's experience as well as prepare audience members to enter the opera house. Ultimately, although opera on television failed to secure a strong foothold in the 1950s, it helped to re-envision the ways in which American audiences could relate to the art form and set the terms for the Metropolitan Opera Live in HD broadcasts today.
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Crawford, Garry, Victoria Gosling, Gaynor Bagnall, and Ben Light. "An Orchestral Audience: Classical Music and Continued Patterns of Distinction." Cultural Sociology 8, no. 4 (July 23, 2014): 483–500. http://dx.doi.org/10.1177/1749975514541862.
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This paper considers the key findings of a year-long collaborative research project focusing on the audience of the London Symphony Orchestra and their introduction of a new mobile telephone (‘app’) ticketing system. A mixed-method approach was employed, utilizing focus groups and questionnaires with over 80 participants, to research a sample group of university students. This research develops our understanding of classical music audiences, and highlights the continued individualistic, middle-class, and exclusionary culture of classical music attendance and patterns of behaviours. The research also suggests that a mobile phone app does prove a useful mechanism for selling discounted tickets, but shows little indication of being a useful means of expanding this audience beyond its traditional demographic.
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Bannister, Matthew. "Why doesn’t anyone write anything about Slade? Reassessing glam." Popular Music History 14, no. 3 (June 23, 2022): 227–46. http://dx.doi.org/10.1558/pomh.20527.
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This article addresses critical neglect of 1970s UK glam rock group Slade. It argues that from the 1970s on, especially in music media, class conflict was increasingly rearticulated in terms of musical taste through multicultural capital. This revision of Bourdieu privileges cultural omnivorism as key to social status, a tolerance that embraces potentially all music except that most strongly identified with low cultural capital, i.e. heavy metal and pop music, and their associated audiences (working-class males and teenyboppers). The fact that these were Slade’s core audiences guaranteed the group’s long-term marginalization. Class politics were re-articulated as identity politics. Multicultural capital and cultural omnivorism are significant to the construction of neoliberal individualism, and David Bowie, the dominant presence in critical accounts of glam, is discussed as an example of that tendency. My interest then, is less in how working-class (or teenybop) the Slade audience was, and more in how those identifications led to their critical marginalization. Slade went on, however, to become a primary influence on glam metal, and the UK, US and Australia are discussed as examples of scenes in which the group contributed to or interacted with in diverse ways, revealing a unique set of interactions both with mainstream popular music in the one hand, and subcultures on the other.
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Erdbrink, A., J. Michael, R. Kortmann, M. Hamel, K. Van Eijck, and A. Verbraeck. "Listening Space." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–20. http://dx.doi.org/10.1145/3458677.
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Classical music venues in the Netherlands and throughout the world are struggling to attract new audiences. Especially younger visitors are underrepresented. Previous research emphasizes the importance of providing new, potentially interested audiences with more means to consume the music. This paper presents an exploratory case study with the persuasive game Listening Space which we developed to help attract new audiences and thus preserve Western classical music heritage. In particular, we studied to what extent this game could promote more varied ways of listening to classical music and thus enrich the experience of visiting a classical music concert. We designed and executed a controlled randomized trial with surveys before and after the experiment as well as a series of in-depth interviews with participants after the experiment. Our treatment group consisted of 139 participants (both new and existing visitors). They played our digital game at their own convenience, followed by a visit to a concert in a renowned classical music concert hall. A control group of 165 participants only visited the concerts. We measured the effects of the game – changes in the ways participants listen to classical music – through self-report in questionnaires before and after the experiment. Results show that Listening Space seems most effective for new audiences: the game promoted more varied ways of listening in the treatment group and thus enriched their experience of visiting a classical music concert. The control group of new visitors did not show an effect and also no differences were found between the treatment and control groups of regular visitors of classical music concerts We employed regression analysis to identify predictors of the game's effect on listening styles: participants’ age and their level of appreciation of the classical music genre were negatively related to the effectiveness of the game. The way in which participants experienced the game also significantly influenced the effectiveness. This case study shows the potential of using games to promote classical music concerts: games seem to be valuable in attracting new, young audiences and, therefore, represent powerful instruments to help preserve Western classical music cultural heritage.
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Asmoro, Ganang Dwi, and Agam Maha Putra Alhakim. "Transforming Barasuara's “Guna Manusia” into brass band adaptation and sociocultural impact." Interlude: Indonesian Journal of Music Research, Development, and Technology 2, no. 2 (May 30, 2023): 70–79. http://dx.doi.org/10.17509/interlude.v2i2.70436.
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This study examines transforming Barasuara's "Guna Manusia" from a folk-rock song into a brass band arrangement. It analyzes its cultural and sociological ramifications using Pierre Bourdieu's theory of cultural reproduction. The project aims to investigate the impact of song adaptation on audience perception, involvement, and awareness of environmental issues. The research utilizes a comprehensive technique that combines descriptive analysis and literature review. The process of descriptive analysis entails the examination of YouTube videos showcasing both the original and brass band renditions of "Guna Manusia" to comprehend the musical alterations and gauge the audience's reactions. A literature review is placed on findings within appropriate theoretical frameworks and examines prior research on music adaptation and cultural replication. The analysis demonstrates that by converting "Guna Manusia" into a brass band arrangement, its cultural importance is enhanced, and its accessibility is broadened to a broad spectrum of audiences. Descriptive analysis reveals that the brass band adaption successfully communicates the song's environmental message through instrumental expression. Bourdieu's theory demonstrates how cultural reproduction impacts the adaptation process and affects the audience's reception. The study highlights the educational and societal significance of employing music to promote environmental advocacy. It showcases how Barasuara's rendition of "Guna Manusia" actively helps increase awareness and encourage transformative change within society. The research offers unique insights into the profound impact of music and its role in tackling urgent social problems.
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Grebosz-Haring, Katarzyna, and Martin Weichbold. "Contemporary art music and its audiences: Age, gender, and social class profile." Musicae Scientiae 24, no. 1 (May 14, 2018): 60–77. http://dx.doi.org/10.1177/1029864918774082.
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Contemporary art music (CAM) has experienced significant aesthetic changes in recent decades and has acted as a seismograph for socio-cultural movements. New music festivals have had a significant influence on the development and perception of this music by promoting aesthetic pluralism, introducing new concert formats, and expanding to unusual venues. These movements induce changes in the social patterns of CAM consumers and have an impact on the traditional high culture audience profile. This article relies on audience surveys at three European CAM festivals and draws on Bourdieu’s (1984) and Schulze’s (1992) class and lifestyle concepts in order to explore demographic characteristics and social class in CAM audiences. As the results show, consumption of CAM is still a distinctive practice sustained by an exclusive community having considerable education and “musical capital”. Nevertheless, the festivals show heterogeneity in the age structure and motivational structure of attendees as well as in specific patterns regarding knowledge, experience and active involvement with CAM. The analysis shows that aesthetic pluralism can lead to greater social openness regarding social class affiliation.
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Arifin, Awaludin, Subhani, Mukhlis, Syarifah Khairani, Sheila, and Zahara Yanti. "The Form of Digital Transformation of Music Sector in the City of Lhokseumawe." Proceedings of International Conference on Social Science, Political Science, and Humanities (ICoSPOLHUM) 3 (December 21, 2022): 00027. http://dx.doi.org/10.29103/icospolhum.v3i.58.
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The digitalization of the arts has brought two major changes, namely the pattern of art work and the perception of art performers towards art. Before the digital era, art work was done manually with simple equipment. In the context of music art work, in order for music to reach the listeners' ears, musicians need other institutions that work to distribute their works. Because the artwork distribution work is outside rather than the art work itself. while in the digital era musicians can relate directly to audiences without having to use the services of a third party. Musicians take advantage of various freely chosen digital platforms to reach audiences. The most frequently used media is YouTube and relevant social media according to the creator's will. Digitization also changes the way music artists view their work. The market is the main orientation chosen by artists, it is shown by the way they choose songs based on the level of popularity of the song among the audience. These changes occur thanks to the presence of technology which is the epicenter of the change itself as stated by McLuhan in his theory of technological determinism. This research was conducted on music performers in Lhokseeumawe City with interviews and direct observations of art performers in Lhokseumawe City.
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Mawer, D. "Protest Music in France: Production, Identity and Audiences." French History 25, no. 1 (January 24, 2011): 130–32. http://dx.doi.org/10.1093/fh/crr017.
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Jacob, Eva. "Educating Audiences for Music: Training Performers to Teach." Arts Education Policy Review 97, no. 5 (June 1996): 15–21. http://dx.doi.org/10.1080/10632913.1996.9935074.
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