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Books on the topic 'Music audiences'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Horowitz, Harold. The American jazz music audience. Washington, D.C. (1201 Pennsylvania Ave., NW, Suite 720, Washington 20004): National Jazz Service Organization, 1986.

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2

1969-, Mann Kenton, ed. Music unlimited!: The performer's guide to new audiences. Chur, Switzerland: Harwood Academic Publishers, 1994.

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3

Farrell, Isabel. Music unlimited: The performer's guide to new audiences. [Chur, Switzerland]: Harwood Academic Publishers, 1994.

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4

Wa Lehulere, Kemang, 1984- contributor, ed. Luxurama. [South Africa?]: [publisher not identified], 2018.

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5

contributor, Dupin-Meynard Félix, Négrier Pauline contributor, Potier Damien contributor, and Gerbaud Philippe illustrator, eds. Les musiques du monde et leur(s) public(s): Six festivals en Provence-Alpes-Côte d'Azur. [Marseille]: Le Mot et le reste, 2014.

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6

Matthews, Jacob Thomas, and Lucien Perticoz. L'industrie musicale à l'aube du XXIe siècle: Approches critiques. Paris: L'Harmattan, 2012.

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7

Rijal, Shiva. Performing for tourists: Redefining performances, performers, and audiences. New Delhi: D.K. Printworld, 2010.

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8

Gewerkschaft Erziehung und Wissenschaft. Landesverband Hamburg. Musikausschuss., ed. Hundert Jahre Hamburger Schülerkonzerte 1898-1998. Altenmedingen: H. Junker Verlag, 1998.

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9

Susanna, Agardy, and Australian Broadcasting Tribunal, eds. Young Australians and music. Melbourne: Research Branch, Australian Broadcasting Tribunal, 1985.

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10

Barendregt, Bart, Peter Keppy, and Henk Schulte Nordholt. Popular Music in Southeast Asia. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984035.

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From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at

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11

Keller, Harald, and Reiner Wolf. The beat goes on: Der Sound, der Style : Ausstellungskatalog : Museum Industriekultur Osnabrück 2. Juni - 6. Oktober 2013 : Tuchmacher-Museum Bramsche 7. Juni - 8. September 2013. Oldenburg: Isensee, 2013.

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12

Conforti, Luciana. Il pubblico di un teatro musicale: Identità e comportamenti : il Teatro regio di Torino. Torino: Teatro regio Torino, 1999.

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13

Issa, Hayat Caroline. Der Klassikstar: Das Starphänomen und der Klassikmarkt. Saarbrücken: VDM, Verlag Dr. Müller, 2007.

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14

Leman, Craig B. A write of strings: Selections from thirty years of chamber music program notes written for Corvallis audiences. [Corvallis, Or.?]: Chamber Music Corvallis, 2003.

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15

Danimarca, Accademia di, ed. Classical music and modern classical music in globalization and consumer society: International symposium, Accademia di Danimarca, Rome, 23rd-26th March 2009. Rome: Accademia di Danimarca, 2010.

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16

Kyrer, Alfred. Strukturen einer Festspiellandschaft: Das Besucherprofil der Salzburger Festspiele in den Jahren 1992 und 1993. Regensburg: Transfer, 1995.

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17

Verhoeff, René. Het publiek van de oude muziek: Een onderzoek naar de samenstelling van het publiek van het Holland Festival Oude Muziek Utrecht in vergelijking met het publiek van reguliere concerten. Rijswijk: Ministerie van Welzijn, Volksgezondheid en Cultuur, Directoraat-Generaal Culturele Zaken, 1992.

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18

Luecker, Matthias. File sharing versus pay distribution in the online music market: What consumers really prefer. Saarbrücken: Verlag Dr. Müller, 2008.

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19

Bloom, Kenneth. Attending and enjoying concerts. Boston: Prentice Hall, 2009.

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20

Baker, Tim. Stop re-inventing the wheel: A guide to what we already know about developing audiences for classical music. London: Association of British Orchestras, 2000.

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21

Lars, Dammann, and Kleist Florian, eds. Live-Musik-Publikum in Hamburg: Empirische Studien zu einer urbanen Musik-Szene im digitalen Zeitalter. Berlin: Lit, 2008.

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22

Encabo, Enrique. Screens, Music and Audiences. Cambridge Scholars Publishing, 2022.

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23

Tolansky, Jon, and Basil Tschaikov. Reflections: Performers/Audiences/Recordings. Taylor & Francis Group, 2016.

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24

Tolansky, Jon, and Basil Tschaikov. Reflections: Performers/Audiences/Recordings. Taylor & Francis Group, 2016.

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25

Tolansky, Jon, and Basil Tschaikov. Reflections: Performers/Audiences/Recordings. Taylor & Francis Group, 2016.

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26

Tolansky, Jon, and Basil Tschaikov. Reflections: Performers/Audiences/Recordings. Taylor & Francis Group, 2016.

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27

Dixon, Travis L. Rap Music and Rap Audiences Revisited. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.24.

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This current paper offers a review of some of the early rap studies and discusses some of the more recent rap investigations that have been dominated by negative effects investigations. It argues that the suspicion of negative effects and stereotyping of African Americans have driven support for censorship of this musical genre. Although psychologists and lay critics have focused on the potential negative effects of rap music, the current chapter provides evidence that the effects are not all negative and that rap music audiences may use their culture and “agency” to empower themselves.

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28

Reflections: Performers/Audiences/Recordings (Musical Performance). Routledge, 1996.

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29

Ray, Mary Beth. Digital Connectivity and Music Culture: Artists and Accomplices. Palgrave Macmillan, 2017.

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30

Ray, Mary Beth. Digital Connectivity and Music Culture: Artists and Accomplices. Springer, 2018.

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31

Farrell, Isabel, and Kenton Mann. Music Unlimited: The Performer's Guide to New Audiences. Taylor & Francis Group, 2020.

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32

Farrell, Isabel, and Kenton Mann. Music Unlimited: The Performer's Guide to New Audiences. Taylor & Francis Group, 2020.

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33

Farrell, Isabel, and Kenton Mann. Music Unlimited: The Performer's Guide to New Audiences. Taylor & Francis Group, 2020.

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34

Farrell, Isabel, and Kenton Mann. Music Unlimited: The Performer's Guide to New Audiences. Taylor & Francis Group, 2020.

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35

Disconnections: Popular music audiences in Freetown, Sierra Leone. Bamenda, Cameroon: Langaa Research & Publishing CIG, 2012.

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36

Lebrun, Barbara. Protest Music in France: Production, Identity and Audiences. Taylor & Francis Group, 2016.

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37

Lebrun, Barbara. Protest Music in France: Production, Identity and Audiences. Taylor & Francis Group, 2016.

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38

Lebrun, Barbara. Protest Music in France: Production, Identity and Audiences. Taylor & Francis Group, 2016.

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39

Lebrun, Barbara. Protest Music in France: Production, Identity and Audiences. Taylor & Francis Group, 2016.

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40

Lebrun, Barbara. Protest Music in France: Production, Identity and Audiences. Taylor & Francis Group, 2016.

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41

Protest music in France: Production, identity and audiences. Farnham, England: Ashgate, 2009.

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42

La musica in Italia. Bologna: Il mulino, 1999.

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43

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2018.

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44

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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45

Duffett, Mark. Fan Identities and Practices in Context: Dedicated to Music. Taylor & Francis Group, 2017.

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46

Musicians and Their Audiences: Performance, Speech and Mediation. Taylor & Francis Group, 2016.

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47

Musicians and Their Audiences: Performance, Speech and Mediation. Taylor & Francis Group, 2019.

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48

Musicians and Their Audiences: Performance, Speech and Mediation. Taylor & Francis Group, 2016.

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49

Musicians and Their Audiences: Performance, Speech and Mediation. Taylor & Francis Group, 2016.

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50

Pitts, Stephanie, and Karen Burland. Coughing and Clapping: Investigating Audience Experience. Taylor & Francis Group, 2016.

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