This book responds to recent debates on cultural participation and the relevancy of music composed today with the first large-scale audience experience study on contemporary classical music.
This book responds to recent debates on cultural participation and the relevancy of music composed today with the first large-scale audience experience study on contemporary classical music.
Dr. Gina Emerson is a musicologist and curator. Her research explores and connects the topics of audience experience, sustainability and cultural participation in art music contexts. She is currently Postdoctoral Research Associate at the IASS Potsdam in the Art-Science Cooperations for Sustainability group.
Inhaltsangabe
List of Figures List of Tables List of Abbreviations Acknowledgements Foreword by Professor Stephanie Pitts Chapter 1: Introduction Chapter 2: Conceptualising and Researching Audience Experience Chapter 3: Contemporary Classical Music and its Audiences Chapter 4: Who and Why? Demographics and Motivations to Attend Chapter 5: CCM as High Art Subculture: Audience Tastes and Perceptions Chapter 6: The Social and the Aesthetic I: Musical Expertise and Experiences with Live CCM Chapter 7: The Social and the Aesthetic II: Aesthetic Experience and CCM Chapter 8: CCM and Audience Participation: A Case Study Chapter 9: Institution-Audience Relationships in CCM Culture Chapter 10: 'Written without regard to the audience': Classical Music Attendees on CCM Chapter 11: Conclusion Appendix 1: Methodological Appendix Appendix 2: Survey Questionnaires Appendix 3: Supplementary Tables Appendix 4: Supplementary Figures Appendix 5: Full List of Works Performed at the Survey Concerts Index
List of Figures List of Tables List of Abbreviations Acknowledgements Foreword by Professor Stephanie Pitts Chapter 1: Introduction Chapter 2: Conceptualising and Researching Audience Experience Chapter 3: Contemporary Classical Music and its Audiences Chapter 4: Who and Why? Demographics and Motivations to Attend Chapter 5: CCM as High Art Subculture: Audience Tastes and Perceptions Chapter 6: The Social and the Aesthetic I: Musical Expertise and Experiences with Live CCM Chapter 7: The Social and the Aesthetic II: Aesthetic Experience and CCM Chapter 8: CCM and Audience Participation: A Case Study Chapter 9: Institution-Audience Relationships in CCM Culture Chapter 10: 'Written without regard to the audience': Classical Music Attendees on CCM Chapter 11: Conclusion Appendix 1: Methodological Appendix Appendix 2: Survey Questionnaires Appendix 3: Supplementary Tables Appendix 4: Supplementary Figures Appendix 5: Full List of Works Performed at the Survey Concerts Index
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