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Artykuły w czasopismach na temat „Music audiences”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 sierpnia 2024

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Miranda, Pritta, and Reny Yuliati. "Eksistensi Radio Saat Ini : Studi Preferensi & Motivasi Khalayak Dalam Mendengarkan Radio." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 4, no. 3 (November 5, 2020): 735. http://dx.doi.org/10.25139/jsk.v4i3.2477.

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Radio is an audio medium used to fulfil the needs the audience's need, both for information and entertainment. Radio provides a variety of information content and a choice of music. Amid technological developments, the presence of many choices of media to access news, entertainment, music, and other information has become a challenge for radio broadcasting. Now people have various choices of media to get information and listen to music. This research aimed to look at the choice of media, especially radio, from the audience and find out what makes radio remains the audience's choice for informa

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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 w

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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 m

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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 environ

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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

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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 th

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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 h

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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

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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 D

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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

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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 rem

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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 (Mülle

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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’ r

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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

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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, generati

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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 emotiona

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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,

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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 c

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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 objecti

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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 4

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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 entertainme

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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),

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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 all

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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, w

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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

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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

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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-hal

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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 tr

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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 nuance

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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 thro

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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 recorde

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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 tha

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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 acti

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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

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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

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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 gen

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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

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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

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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 researc

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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 g

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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 thu

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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 renditio

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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) an

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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 o

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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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