A STUDY INTO THE ISSUES AND PERCEPTIONS OF PEOPLE AGED 18-25 TOWARDS ATTENDANCE AND PARTICIPATION AT CLASSICAL MUSIC CONCERTS

SARA FRIEL

BA (Hons) Events Management

Cardiff Metropolitan University

April 2016

i Declaration I declare that this Dissertation has not already been accepted in substance for any degree and is not concurrently submitted in candidature for any degree. It is the result of my own independent research except where otherwise stated.

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ii Abstract The dissertation concentrated on research presented by various authors, such as Peterson et al (1996), (Kolb 2001) and Sandow (2012), expressing that older people are over-represented in the audiences of classical music concerts. The dissertation aimed to take this research further, and look into the issues and perceptions of young people aged 18-25 towards attendance and participation at classical music concerts, and explore the hypothesis by conducting semi- structured interviews based on the concert audience and atmosphere, concert setting, knowledge information and awareness, and social issues of classical music concerts.

The research concluded that young people found it difficult to relate specific areas such as the audience, atmosphere and concert setting of classical music concerts, often feeling uncomfortable in the audiences and the music venues, and not feeling part of the ‘community’.

Another key finding of the study shows that lack of knowledge, information and awareness is clear regarding classical music events. Young people felt as though you had to know certain things in order to be accepted at, and enjoy attending classical music concerts, and spoke about learning to play a classical instrument could help this factor. Young people also felt as though there was a clear lack of awareness of classical music concerts, and more could be done in order for the marketing to encourage new attendees instead of inform the audiences who already attend the concerts.

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iii Acknowledgements I would like to give a big thank you to all of the contributors who took part in the research project, as well as to my supervisor for giving me plenty of guidance and support. To all of my friends and family who have given me the backing and encouragement needed to complete this dissertation, I am extremely grateful. Thank you!

iv Table of Contents 1. Introduction ………………………………………………………1 1.1 Trends and Statistics………….…………………………………..2 1.2 Classical Music Definition………….………………………....…2 1.3 Audiences………………………….……………………………..3 1.4 Aims and Objectives……………….…………………………….4 2. Literature Review…………………………………………………6 2.1 Concert Audience and Atmosphere………….………………..…6 2.2 Elitism and Ideas of High Culture……….…...………………….8 2.3 Concert Setting……………………………….………………….9 2.4 Knowledge, Information and awareness.……….……………...10 2.5 Marketing………………………………………………………11 2.6 Social Factors…………………………………………………..12 2.7 Societal Change………………………...... 13 2.8 Summary……………………………………………………..…13 3. Methodology………………………………………………………14 3.1 Qualitative research…………………………………………….14 3.2 The Interview Process………………………....………………..14 3.3 Quantitative Research………………………………………..…16 3.4 Comparison of Qualitative and Quantitative research……….....16 3.5 Ethics……………………………………………………………17 3.6 Data Analysis……………………………………....……………17 3.7 Reflection on the Interview Process……………...……………..17 4. Results and Discussion……………………………………………..19 4.1 Background Questions and leisure time activities……….……..19 4.2 Experience with other arts events………………..……………..20 4.3 Audience and Atmosphere…………………………...…………20 4.4 Concert Setting…………………………………………………23 4.5 Knowledge, information and Awareness…………..…………..26

v 4.6 Playing an Instrument…………………………………………29 4.7 Accessibility…………………………………………………..30 4.8 Marketing……………………………………………………..31 4.9 Ticket Prices…………………………………………………..34 4.10 Motivations………………………………………………..34 5. Conclusion and Recommendations…………....…………………….…36

References…………….………………………………………………………………30

Appendices……………………………………………………………………………44

vi

List of Abbreviations

The Royal Welsh College of Music and Drama (RWCMD) The Wales Millennium Centre (WMC) National Endowment for the Arts (NEA)

vii List of Figures 1. Why Audiences are important (Baker, 2000:2)………………………………4

viii 1. Introduction This research project aims to explore the issues and perceptions of people aged 18-25 towards attendance and participation at classical music concerts.

Classical music concerts once reached a wide range of demographics, more of less of every age (Sigurjonsson, 2005), however a large amount of research has found that older people are now over-represented in classical music audiences (Peterson et al 1996, Kolb 2001, Sandow 2012). This poses a threat to classical music events as arts organisations rely heavily on public sector funding, such as the Arts Council UK, to keep these classical music events running. According to the Arts council UK, their main mission is to achieve great art and culture for the population. Arts council UK work extremely hard in order to accomplish this mission by ‘Championing, developing and investing in arts and cultural experiences that enrich people’s lives.’ (Arts Council UK, 2013) In order to justify this funding, it is important that arts organisations are able to bring in a range of ages to attend these concerts.

The Dissertation will be concentrating specifically on audiences and potential audiences within classical music concerts in Cardiff, and intends to benefit stakeholders of the classical music industry. Cardiff has a range of concert halls such as The Wales Millennium Centre, Wales’ national home for performing arts, and St David’s hall that may benefit from the research project. Cardiff is also home to professional ensembles such as The Welsh National Opera and BBC National Orchestra of Wales who may also benefit from the research findings as they offer a wide range of orchestra concerts and opera productions each month.

The Royal Welsh College of Music and Drama (RWCMD) is also situated in Cardiff, whose ambition is to make an ‘Ever more central contribution to the cultural life of Cardiff’ (Royal Welsh College of Music & Drama, 2016). Considering they use their world-class students to put on classical music events throughout Cardiff, The RWCMD would potentially find this study useful.

Organisations who are involved in promotion of live classical music who wish to make an audience development strategy may also find the findings of issues perceptions of young people towards attending classical music concerts portrayed in this report constructive.

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Alongside the professional music groups, there are an abundance of amateur music companies that perform regularly in Cardiff, such as wind bands; concert bands and choirs who may similarly be interested in the issues and perceptions of people aged 18-25 towards attendances at their music concerts.

The project will contribute to the literature by providing an up to date investigation focusing on the issues and perceptions of young people in their early twenties regarding why they do or do not choose to attend classical music concerts specifically situated in Cardiff.

1.1 Trends and Statistics Key findings from the Arts council of Great Britain’s Target group Index states that when looking at the statistics of classical music attendance in 2009/10 there has been a significant decrease since 2008/09 throughout Britain. Concentrating more specifically on the dissertation topic, the National Endowment for the Arts (NEA) has recorded the age of classical music concert attendees since 1982. The average age of the audience in that year was 40, however in the year 2008 this has increased to 49 years old. The average age of the population has also increased during that time, however the NEA has confirmed that the audience for classical music concerts has aged faster than the population as a whole (Sandow, 2012.) Figures from the Social Survey Division of the Office for National Statistics for the year 2001 highlights this fact by stating that in Britain 4% of people aged of 16-24 and 6% of those aged 25-34 attended classical music concerts while 16% of those aged 55-64 year old attended concerts. (Sigurjonsson, 2005)

1.2 Classical Music Definition The term ‘Classical Music’ is used in a number of different contexts. According to The Oxford Music Dictionary Online (2016), Classical Music can be described as the following:

1.‘Music composed roughly between 1750 and 1830 (i.e. Post-Baroque and pre-Romantic) which covers the development of the classical symphony and concert’

2. ‘Music of an orderly nature, with qualities of clarity and balance, and emphasising formal beauty rather than emotional expression’

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3. ‘Music Generally regarded as having permanent rather than ephemeral value’

4. ‘ ‘Classical music’ is used as a generic term meaning the opposite of ‘light ‘or ‘popular music’ ’

For the sake of this dissertation, the term ‘Classical music’ will follow the latter 3 definitions, and be used to describe a music style in order distinguish it from other genres such as pop, rock or folk. The term used in this report will refer to music that has been composed as early as the 1300s, which is commonly known as the ‘Renaissance’ period through the Baroque, Classical and Romantic periods and up until music that is being composed in the current day. For the purpose of the study, a wide scope of classical music events will be considered including operas, orchestral concerts, choir performances and both chamber and solo recitals.

1.3 Audiences It is agreed within the arts industry that audiences are intrinsically important for classical music concerts, however the most research has been conducted specifically by the arts and leisure management field rather than from musicologists (Pitts, 2005). This proves that the fact that many young people do not attend classical music concerts, and fear of a decline in audience attendance is an issue of concern in the classical music sector.

McKinsey (2009) states that the trends regarding audience attendance significantly impacts the entire field of classical music, and the Association of British Orchestras explains that the audience is ‘absolutely central to every aspect of what an orchestra, or ensemble, or concert promoter does’ (Baker 2000:8).

This point is emphasised by a diagram (Figure 1) situated in a report prepared by the Association of British Orchestras. The diagram shows clearly that all programmes, concerts and recordings are linked back to the audience. For example, orchestra tours wouldn’t happen without audiences, education programmes wouldn’t have anybody to engage with if it wasn’t for audiences, and nobody would buy orchestral recordings apart from audiences.

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Figure 1: Why Audiences Important (Baker, 2000:8)

Sandow (2012) puts forward the idea that young people today are much more into popular culture than any generation in the past, suggesting that when they grow tired of artists they once listened to in their twenties, they will not gravitate towards classical music as it does not in any way reflect the world they live in. This poses a threat to arts companies, Orchestras, and the future of classical music concerts as the fact that younger listeners are not continuing to attend could lead to jeopardising the amount of classical music concerts that take place in the future (Pitts, 2005).

1.4 Aims and Objectives Aim: Explore the perceptions of people aged 18-25 surrounding classical music events and issues regarding their attendance at classical music concerts in Cardiff

Objective 1: Critically review the literature regarding why young people do and do not attend classical music concerts, looking specifically at the concert atmosphere, concert settings, knowledge, information and awareness, marketing and social factors.

Objective 2: Gather primary research in the form of semi-structured interviews with young adults in Cardiff who do attend classical music concerts to gain more of an insight into why they attend.

Objective 3: Conduct further semi-structured interviews with young adults in Cardiff who do not attend classical music concerts in order to find out their views regarding Classical music, and why they do not attend classical music concerts.

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Objective 4: Analyse and review the findings to produce conclusions and recommendations for further research into why young adults generally do not attend classical music concerts, and suggestions for Cardiff Arts organisations in order to increase the attendance of young people at classical music events.

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2. Literature Review

This chapter will review the research regarding classical music concerts and their audiences in order to contextualise the current research around the topic. Ethnographic, psychological and sociological research within classical music audiences has expanded considerably in recent decades, prompted in part by concerns over ageing audiences for live classical music.’ (Kolb, 2001:51) The literature review will concentrate on the following themes: concert audience and atmosphere, elitism and ideas of high culture associated with classical music concerts, concert setting, the amount of knowledge, information and awareness of classical music concerts and social factors related to classical music concerts.

2.1 Concert audience and atmosphere

A Key issue in research when looking into why young people don’t attend classical music concerts is the concert audience and atmosphere. According to the John S. and James L. Knight Foundation (2002) the fact that there is an older population of concert attendees can significantly affect the ambience of the event, and classical music concerts are almost guaranteed to have a more sedate atmosphere than that of most live music events.

The Knight foundation’s research also states that some people think orchestra concerts are for ‘snobs’ or the fact that classical music concerts are ‘for those from the upper classes in fur coats who attend merely to be seen by others’ (Rizkallah, 2007:114). In a study carried out by Scheff et al (1999), focus groups of around 8-12 people aged 25-35 years old were asked about their opinions of the classical music concerts held at the Ravinia Festival in Highland Park. The interviewee’s spoke about they felt underdressed at these classical music concerts and in turn felt as if they didn’t belong in the audience.

Despite this however, the research concluded by stating the fact that although it may be true that people who attend classical music concerts and operas are more educated members of society, it is unusual to see attendees dressed in evening dresses and suits, and only the members of the orchestras dressed so formally (Rizkallah, 2007).

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Small (1987) compares attending a classical music concert to attending a catholic mass, as in both events it is imperative for both the performers and attendees to follow specific patterns of behaviour. Small explains that this is due to the ‘specific nature of the emotional situations depicted in songs and arias, in contrast to the abstract and generalized nature of purely instrumental works’ (Small, 1987:11). The point of the formality and ritual of classical music concerts is to highlight the ‘universality’ and ‘timelessness’ of the proceedings. Priests in a catholic mass are described as doing the same thing as their individuality is masked by the robes, formal gestures and ‘artificial voice production’ in order to emphasise the timelessness of the church. ‘The message is that priests (or musicians) may come and go but the Church (or the music) goes on forever’ (Small, 1987:11).

Baker (2000) talks about how regular attendees of classical music concerts can appear to be insensitive to the lack of experience non-regular concert attenders may have, and even suggests that ‘people not knowing what to do’ could be cited as a negative aspect of classical music concerts.

Pitts et al (2013) who used the City of Birmingham Symphony Orchestra (CBSO) as a case study for audience research also mentioned that there is a noticeable division amongst the CBSO’s audiences, between the people who know each other and new attendees, describing the audience members as ‘cliquey’ and not very welcoming. Many frequent audience members of the CBSO feel that being able to book the same seats, and see the same faces week after week heightens their experience. According to a survey conducted by Pitts et al (2013), this fact was a main feature of attendance for 57% of audience members, whereas the other 43% commented that they did not feel ‘part of the crowd’ when attending classical music concerts, however the experience for them was personal and individual so this was not a problem.

Pitts et al (2013) also explain that there is tension shown between attendees regarding the current concert series as it stands, and the realisation that different events may be needed in the future in order to increase the audiences of classical music concerts

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2.2 Elitism and ideas of High Culture Along with concert atmosphere is the idea of elitism and high culture linked to classical music. Small (1987) talks about the attendance of a classical music concert operating at two different social levels. One of these social levels is the level of music experience, and the other is the state of being where the experience plays out and ‘reaffirms class cultures and boundaries.’ This point is backed up by Hirschkop, (1989) and Frith (1996) in that the performance of classical music celebrates the values that are common in the European culture, including: ‘the reverence of individual genius, perfection of technique, and the importance of emotional control.’ Sociologist Pierre Bourdieu (1984) looks at culture and the division of class regarding classical music concerts. Bourdieu talks about high culture and low culture, and poses the idea that the upper class has the legitimate taste in society. The middle class supposedly tries to respect that taste but is only able to appreciate the most popular works of the artists of the legitimate taste- ‘cultural goodwill’. According to Bourdieu (1984), the lower class can only appreciate the art for its aesthetical reasons, and the majority of features of classical music concerts emphasise values of 50-60 year old middle class people. Sigurjonsson also mentioned that ‘The formality and elitism of concerts, and their association with personal improvement, have principally been experienced in live performances.’ (Sigurjonsson, 2012:9)

Abercrombie and Longhurst (1998:87) pose the idea that there is a tendency for the modern society to achieve experiences using a more visual channel, being called the ‘society of visuality’. If arts organisations were to recognise this point, and change the classical music concerts in order to comply with Bourdieu’s idea that the lower class are only able to appreciate classical music for the aesthetical and practical reasons, research suggests that this action would be met with a huge amount of scepticism. (SigurJonsson, 2012) Boston Globe critic, Steinberg (2004) comments that orchestral ‘pops’ concerts, for example, go against what musicians are taught. All care and ‘concern for detail’ of the music and culture are cancelled out and many concerts are put together quickly in venues which are ‘acoustically frustrating’. An essay featured in ‘Classical Music in a changing culture’ substantiates this point by mentioning that classical music is not for everybody, and mentioning that it is not realistic to attempt to market it to everybody. (Vroon, 2014) This could be a negative factor in attending classical music concerts for young people in their late teens and early twenties. The

Page | 8 views of other attendees could be overwhelming and off-putting when deciding to go to a music concert.

Although researchers such as Johnson (2002) argue that elitism shouldn’t be an issue when regarding classical music, orchestral concerts do only reach a small part of the population (Keaney & Oskala, 2007) and now more than ever has the classical music business been more eager to move away from the elitist image that it unfortunately has (McAloon, 2015). This may be a reason affecting the lack of attendance of young adults at classical music concerts. The Knight Foundation (2002) states that this elitist representation may have been brought over from the past, and marketing and branding may be a way to moderate this view, seeing a growth in the attendance of a younger audience.

The subject of elitism also cropped up in the interviews carried out by Scheff et al (1999). Members of the focus groups suggested that their general idea of the typical classical music audience member was middle-aged, educated and wealthy, attending the concert to emphasise their social status.

Baker (2000), backs up these views in his guide ‘Stop Re-inventing the wheel’ about audience development for Classical music concerts. Baker describes perceptions of elitism being too formal, and the build-up of unnecessary worries regarding what to wear, or when to clap as a reason why classical music concerts can appear to be not for everybody, specifically the young generation.

2.3 Concert Setting Sigurjonsson (2012) talks about the concert setting of classical music concerts. Evidence from the UK suggests that the lack of attendance of young people is not because they do not enjoy listening to classical music, but because of the setting of the concert itself. Classical music is traditionally performed in grand concert halls, which are seated. Small (1987) states that the arrangement of the seating in concert settings does not support interaction with other audience members apart from the seats next to each other.

Bonita Kolb (1999) used audience research in order to look at the attitudes of people who do not attend classical music concerts and the reasons, which affect their decisions. Kolb’s study took place in the United Kingdom and interviewed three focus

Page | 9 groups consisting of around five to seven young adults. The students of the University of Westminster were taken to three different types of concerts. One being a traditional classical music concert, the second being a ‘pops’ classical music concert, and the third being a concert consisting of new compositions by Michael Nyman. Kolb looked at what the young adult’s thoughts were before and after the concert. Kolb’s conclusions found that it was surprising how many of the students were willing to attend another concert, however in order to make the experience more enjoyable, they would want the setting of the concert to be improved.

Kolb also talks about classical music in the sense that it is ‘in danger of becoming a fly trapped in amber – highly decorative but of interest only to an ageing part of society’. This is due to the out-dated settings that the concerts are held in. In order to regain the attendance of young people, Kolb suggests that Social purpose needs to be re-discovered as classical music has become ‘trapped in the sterile confines of the concert hall’ (Kolb 2002)

Many traditional audience members however, would agree that changing the concert setting would be seen as lowering the level of culture, and therefore making the experience shallower (Lebrecht, 1997.)

2.4 Knowledge, Information and awareness

Jackendorff and Lehrdahl (1982) state that in order to fully enjoy a piece of music, a certain background or amount of experience is usually needed, and that in a sense it has similarities to learning and understanding a different language. From the research conducted by Kolb (1999) the young people answering the questions in the focus group often use the word ‘understand’ rather than empathetic words such as ‘feel’ or ‘experience.’ This could show that lack of knowledge is a common reason as to why young people do not attend classical music concerts. The fact that even people who attend concerts regularly make decisions about which concerts they attend based on a huge amount of information Scheff et al (1999), prove that knowledge information and awareness could well be a barrier for attendance. For example, if composers, works or conductors are not well known, as well as the price and seating areas of a venue. For non-regular concertgoers this could be seen as extremely unwelcoming,

Page | 10 and therefor put potential concert attenders off the idea of attending. Scheff et al (1999).

Unlike theatre or cinema there are no reviews or ‘reported experience’ to read prior to the concert which could also reduce willingness to attend. Since classical music concert reviews are always after the event, the lack of information published on what to expect could make people feel less confident about the likelihood of them enjoying the event and could explain a lack of attendance at classical music concerts (Baker, 2000).

2.5 Marketing

To emphasise the above factors, young people may feel that there is difficulty in acquiring information regarding classical music concerts in the first place. Many arts organisations tend to advertise the concerts in subscription magazines and leaflets available in classical music venues and by direct mail.

For young people who do not attend classical music events already, it can be difficult to obtain the information about the concerts available in the first place (Baker, 2000). Linking to this, it could be a possibility that young people who do not attend classical music concerts are simply unaware of the opportunity. The findings of Kolb (1999) and Scheff et al (1999) explain that young people felt as if classical music concerts and their advertising were not targeted at their age group, resulting in a lack of awareness and motivation to attend these concerts.

Arts organisations are fearful of switching away from this marketing tactic, with the thought of losing their main audience members and therefore the main bulk of their ticket revenues. ‘Until orchestras begin to change their dependence on subscriptions, subscription marketing will continue to be the sweet honey that sustains orchestras and a slow-acting poison that impedes their long-term stability’ (John S. and James L. Knight Foundation, 2002) This explains the main dilemma some arts organisations are tackling; whether to stray away from their regular marketing strategy and target the younger audience, or retaining the current audiences of classical music concerts who are older and wealthier.

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2.6 Social Factors Various authors talks about the social elements linked with enjoying classical music, and attending classical music concerts. Zillmann and Gann (1997) stated that music can be used in order to confirm a specific identity. They also state that the preference for different types of music could portray a message to others regarding a range of different attitudes and values. Tarrant et Al (2001) also explain how young adults’ music preferences are seen to show how they see themselves, and are seen by others. Rentfrow and Gosling (2003) clarify this, by talking about how music preferences can disclose evidence about a person’s qualities.

Finnais (1989) found that there were differences between what music young people said that they enjoyed publicly, and the music that they listened to privately. Iso- Ahola (1994) describes that because young people are constantly trying to fit in to society, they seek leisure activities that highlight change. Kolb (2001) backs this point up by mentioning that young adults of today are striving to find themselves and be more individual. Attending classical music concerts can be seen as a stable activity, and young people’s values are now based on excitement, entertainment and looking for risks.

This shows the huge amount of pressure placed on society to fit in, suggesting another reason why young people do not attend classical music concerts and how the general consensus seems to be that by stating they like a certain style of music, they are associating themselves with a specific lifestyle choice, and committing to a ‘wider set of values’ (Russel 1997)

Research conducted for the Association for British Orchestras (2000) and O’Sullivan (2009) describe the main reasons that people go to classical music concerts. Emotional needs such as excitement and stimulation, being able to unwind, relax and escape from everyday life were important. Kerttula (1988) clarifies this by stating that the emotional and experiential aspect is a crucial part of a classical music experience. Kerttula then goes on to mention that the concerts are able entertain, give aesthetic or emotional experiences, prevent stress or give an escape from everyday life. As well as emotional needs, personal needs like education, nostalgia, experimentation and the broadening of repertoire can also be brought to audiences attending classical music concerts.

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Audience members tended to concentrate less on the sociological factors of attending classical music concerts, and this could be a reason as to why young people are absent in the venues of classical music concerts. When interviewing young people about the main aspects they consider when choosing their evenings out, social factors are suggested to score extremely highly (Arts council of England 2000.) The introspective nature of classical music concert experiences seems to make the occasion a less ‘social’ experience with the lack of opportunity to be able to discuss reactions with friends. Unlike other art forms such as cinema or theatre, classical music concerts don’t seem to give the opportunity of human interaction, or content that people can really relate to and form a discussion about. (Classical Music Consumer Segmentation Study, 2002) The fact that only the very best classical music concert venues are able to offer a ‘complete’ evening out with the opportunity to eat a meal or have a drink beforehand is another social factor leading to young people attending more social activities in their spare time rather than attending classical music concerts. (O'Sullivan, 2009).

2.7 Societal change

Pitts (2012) talks about societal change being a barrier to young people attending classical music concerts. Pitts refers to Kolb’s research in 2001, which states that lifelong listening habits are developed during childhood, and this fact is steady when looking at other research findings. Responses from an interview conducted by Pitts et Al (2013) concluded that older participators often stated that they attended concerts in their childhood, and some regretted that their children had not developed the same habits. Pitts (2012) expresses the opinion that the absence in young people at classical music concerts shows the evolution in music education and family listening habits, clarifying a societal change.

2.8 Conclusion Looking at the relevant literature on the subject of the attitudes and experiences of young adults towards attending classical music events, It is important for the dissertation to record more up to date opinions of young adults, as much of the literature available is over 10 years old. The dissertation will intend to concentrate more specifically on the City of Cardiff as a whole.

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3. Methodology

Research is extremely important, as it can confirm existing knowledge or establish a new set of facts, add new perspectives and insights to existing knowledge and offer solutions to practical issues. This dissertation has specifically used qualitative research using convenience sampling in order to combine existing and new information.

3.1 Qualitative research

Qualitative methodologies are useful for emphasising words rather than quantifications when collecting and analysing data. According to Minchiello et al, (1990:5) Qualitative research is ‘concerned with understanding human behaviour from the informant’s perspective. As this dissertation is aiming to find out about sociological aspects and feelings, concentrating on which particular factors prevent students from attending classical music concerts, it was imperative to include qualitative research in the study. Qualitative research can be a useful method as it looks into recording feelings and attitudes. It can also create openness and encourage people to talk more about their responses and enable the researcher to discover new topic areas that were not previously thought about.

3.2 The Interview Process

Informal Interviews were important in this study. Because the dissertation aimed to explore the attitudes of non-attendees of classical music concerts, 2 groups of young people were asked different sets of questions. 7 young people who do not attend classical music concerts were interviewed (Appendix 1) along with another 4 young people who attend classical music concerts regularly (Appendix 2).

In order to be interviewed, the two groups of young people had to be aged between 18 and 25, and currently reside in Cardiff. Because of these requirements, the Interviewees were chosen using convenience sampling. Most of the participants were friends of the interviewer so that it was easy to organise an interview, and this way interviewees would feel safe and at ease when answering questions. The interviews were recorded and vary in length depending on the depth that the participant went into each question, however 25-30 minutes is a rough timeframe.

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Open ended and closed questions were asked about various topics – their relation to the arts in general, the participant’s connection to classical music and their education and preference of social activities. The interviewees who do not attend classical music concerts were also asked about their preconceptions of concert attendees, venues, and their awareness of classical music concerts taking place throughout Cardiff.

Participants who attend classical music concerts regularly were asked about specific classical music concerts that they have or haven’t enjoyed, whether they had a favourite concert venue in Cardiff and why, and whether their experiences of classical music concerts have changed since they first started attending, as well as how important social aspects of attending classical music concerts were to them.

Marketing was another key theme of both of the interviews; finding out whether the participants felt that the advertising of classical music concerts limited the amount of young people attending.

All interviews were drafted before being conducted and the sessions were scripted in order to make sure all participants were asked the same questions, however depending on answers given, some follow up questions were possibly needed to enable the interviewer to expend on the subject. The interviews took place in local coffee shops around Cardiff depending on where the applicants lived in order to make it easier for them, and the interview process lasted for around 3 weeks.

A pilot interview was conducted in order to increase the likelihood of success of the interview questions. The pilot interview was important as it assessed whether the questions asked were workable and realistic, and established whether the research method of semi-structured interviews were effective. The pilot interviewee was asked the questions in exactly the same way that the main participants would have been. Afterwards, the subject gave feedback regarding any difficult questions. A few questions were added into the interview, as the participant mentioned that there were some jumps between questions that did not seem to make sense, and the interviewee therefore found them difficult to answer. Some questions were also not answered as expected. These questions were reworded or re-scaled in order to make them easier to understand.

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The above section is a bit too descriptive. You need to ensure you cover all the areas stated within the marking scheme such as advantages and disadvantages of this method.

3.3 Quantitative research

Quantitative research is ‘concerned with discovering facts about social phenomena’ and ‘assumes a fixed and measurable reality’ (Minchiello et al, 1990: 5). Originally, questionnaires were going to be used to help with the study. 100 questionnaires were to comprised and emailed to Cardiff Metropolitan University Students, with the sample chosen randomly so that each student had an equal probability of being chosen. The Questionnaires would have consisted of the same set of questions, asked in the same order and way in order for fair information to be gathered. Similar questions were to be asked to that in the interviews, however only closed questions would have been used. When using quantitative research such as questionnaires, it is difficult to know how truthful the respondent is being and also how much thought they have put into answering the questions. Because of these points, the researcher decided to go against using questionnaires. It was decided that the freedom of response linked to semi-structured interviews would allow the researcher to gain the opinions and thoughts of the interviewees, as closed questions would have restricted the responders to pre-set answers. Need references to theory within the above.

3.4 Comparison of qualitative and quantitative research

Although qualitative research provides a detailed picture into why people act in different ways and their specific feelings, there are also disadvantages in using qualitative research. One main disadvantage is that a fewer amount of people have been studied as the collection of qualitative data is rather time consuming. 15 people were interviewed using qualitative research as opposed to the 100 people who would have been researched by using quantitative research. This also means that the findings were less easy to generalise to that of the population of young people in Cardiff, and could therefore not be taken so seriously in the eyes of academics. The fact that the interview questions are open-ended using the qualitative approach, it could have been difficult to make systematic comparisons if people give widely differing responses however the researcher believes that due to the richness of the conversations recorded, a representative amount of research was made. The interviewer also had to be careful

Page | 16 when performing the interview, in order to make sure that the quality of the research was not diminished by the skills of the interviewer themselves.

3.5 Ethics

This research project received ethical approval before the interview process took place. (Appendix 3) In order to protect people’s identity and insure confidentiality, interviewees were required to complete the consent form before they can take part in the study. The interview recordings were stored on password-protected devises and once transcribed, they were deleted.

Before conducting the interviews, potential risks were thought about and ways in which to deal with these risks. For example, the interviewer’s safety whilst conducting research could have been a potential risk. In order to deal with this, the interviewer knew all participants prior to the interview process. The interviews were arranged in advance at a location in a public place confirmed by the researcher and participant, and the researcher would take their mobile phone with them to the interview. Another risk could have been if the participant amount dropped and individuals withdraw from the study. This was counteracted by the researcher making sure that the people who were chosen to be interviewed were reliable individuals. The interviewer also ensured that if somebody were to drop out, other people would be able to fill in the gap.

3.6 Data Analysis

Transcriptions were made of the interviews (Appendix 4) and the data was analysed by using a thematic approach, being re-read and concentrating on three main themes that are mentioned in the literature review: Audience and Atmosphere, Concert Setting and Knowledge, Information and Awareness.

3.7 Reflection on the interview process

The researcher feels as though the interview process was reliable, as the data collection concentrated on attaining the attitudes and perceptions of the young people being interviewed. The Interviewees would have no reason to make up their responses. The researcher also believes that the interview process was valid, meaning that it measures what it claims to measure (Kelley, 1927). As open questions were utilised, the interviewees were able to explain what they think in their own words, and

Page | 17 the fact that the interviewer was also a young person would mean that the appropriate language and vocabulary was used. If the interview process were to be repeated, the researcher feels it would be crucial to interview a larger number of participants in order to get a more broad range of responses. Group would also be used, as the researcher felt as if more information could have been obtained if the young people were able to talk to each other and share experiences. Some interviewees may have been prompted to provide more information if ideas were sparked by what some of the other interviewees had to say, and others would have possibly found it more natural to speak in a group setting as opposed to one-on-one (McLeod, 2014).

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4. Results and Discussion

As only qualitative data was used in the study, the following chapter will present the results of the informal interviews as well as discuss and analyse the findings, focussing on 3 main themes mentioned in the literature review identified in Chapter 2. These themes will include Concert Atmosphere and Attendees, Concert Setting and Knowledge, Information and Awareness.

4.1 Background Questions and Leisure Time Activities Background questions such as the name, age and studies of the participant being interviewed were asked, along with the leisure time activities in which they partake in. As the report aims to concentrate on views and attitudes, it was important to begin with background questions in order for the interviewees to get comfortable with the interview process so they can express themselves, and to make sure that the questions which regarded most information were not asked straight away, to ensure more revealing responses.

The majority of young people- both classical music concert attendees and non- attendees, had relatively similar leisure time activities. It seemed that most of the participants enjoyed socialising and meeting up with friends, which often involved drinking. Going to the Pub and cocktail bars were common responses. Watching films was also a common leisure time activity of young adults, as well as sporting activities such as going to the gym, rock climbing and yoga.

The interviewees stated that they listened to a huge range of music. Rock, electronic, pop and hip-hop were amongst the most popular, and many enjoyed going to various gigs in their spare time. Unsurprisingly, the attendees of classical music concerts mentioned that they listen to classical music, however a few of the young people who do not attend classical music concerts stated that they also listened to classical music in their spare time. One participant said that she listened to classical music every morning with her gran in the car, and others mentioned that they sometimes find classical music relaxing and therefore listen to it for some ‘quiet time’ or download podcasts in order to fall asleep to. This links with Sigurjonsson’s (2012) point, which suggests that young people have not stopped listening to classical music, but are simply missing from the concert halls of classical music concerts.

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4.2 Experience with other arts events

The interviewees were asked whether they had any experience in attending any other types of arts events such as the theatre, or dance shows. The majority of participants mentioned that they occasionally attend the theatre, the ballet and other shows such as comedy or dance. On asking the interviewees what makes these forms of art more appealing than a classical music concert, the results were fairly similar.

The idea that the theatre and ballet were more visual seemed to have a positive impact on the reason as to why the young people would want to go to these events. The majority felt as though the mixture of different art forms can often be seen as more exciting, and give young people more of an incentive to go.

‘I like theatre and ballet. More visual things. I prefer the mixture of looking at the dancers/ actors and the set and the clothes as well as hearing the music.’

(Jessica Burgess, 2016)

This comment is representative of the young people interviewed, and links with the studies shown by Kolb (1999) in that young people still tend to choose to see events that connect various art forms in 2016. Although the non-attendees are not present at classical music concerts, the fact that they still attend arts events suggests that young people are simply not concerned with commemorating middle class values present in the classical music concerts (Bourdieu 1984). This perhaps represents Bourdieu’s views about these people who do not attend classical music concerts only appreciating the arts for aesthetical reasons, and supports the ideas of Abercrombie and Longhurst (1998) in that society today still get experiences through the visual channel as art forms such as the theatre or ballet which present very highly visual performances.

4.3 Audience and Atmosphere Upon asking non-attendees what images and ideas they had regarding people that attend classical music concerts, all interviewees had the same general response. The first points that came to people’s minds were an older audience member, middle class, well educated and white; linking to the research of Peterson et al (1996), Kolb (2001) and Sandow (2012)

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‘When I went to see André Rieu with my Gran, I was sitting on the first tier and all I could see were white heads. There were a few younger people but definitely few and far between.’

Ciara Llewellyn (2016)

After focussing the conversation on the age of the audience, this didn’t particularly seem to be a problem for young people in regards to why they do not attend classical music concerts, with some stating that they have a lot of respect for the older generation, however the attitudes of the audience member was the factor that appeared to cause the most concern.

The word ‘posh’ was used frequently. Many of the participants stated that the audience members don’t generally make you feel welcome, and the words ‘snobby’ and ‘elitist’ cropped up a fair bit. Referring back to the comments mentioned by the John S. and James L. Knight Foundation (2002) the same words ‘snob’ and ‘elitist’ were used to describe an average audience member. These negative words suggest reasons as to why young people do not tend to go to classical music concerts. One interviewee stated:

‘I don’t feel like they welcome you. I’ve had some bad experiences with the attendees when working in the venues that they perform in. They tend to complain a lot… It’s definitely put me off attending the concerts. It feels like a community that I’m not part of, like they’re looking down at you.’

Osian Ifans (2016)

This comment appears to be a typical response when being asked about the concert audience of classical music concerts, linking to Pitts et al (2013). Attitudes towards the same sort of cliquey, unwelcoming community mentioned in the audience research focussed on The CBSO are described here, suggesting that feeling ‘part of the crowd’ is an important factor in young people attending events.

Participants were asked whether they felt as though there were any particular rules or etiquette to be followed when attending a classical music concert, or whether they felt as if any behaviour would be expected of them. The majority of participants mentioned the idea that audience members were expected to adhere to a certain dress

Page | 21 code. Some interviewees stated that full formal wear such as suits and floor-length gowns would be expected of you at a classical music concert:

‘When I first went to see Handel’s ‘Orlando’ in the WMC, everybody was wearing a suit but I wasn’t. I observed some older people not being happy with what other people were wearing. It’s like they have a uniform.’

Jaydon martin (2016)

This links to the point made by Rizkallah (2007) in that classical music concerts are for upper class people in fur coats who only attend in order to be seen by other people.

Others however, mentioned that you would probably have to dress ‘smart’ and ‘presentable.’ For many, this idea was attached to the upper class ‘vibe’ of classical music concerts, however would not put too many of the participants off of attending a classical music concert, as many of the young people stated they enjoy the element of dressing up on a night out, and usually make the effort no matter where they go for the evening.

Many interviewees talked about the differences between the behaviour expected of you at a classical music concert compared to the type of concerts that they go to on a regular basis. Many participants talked about how getting drunk would be seen as unacceptable, as well as being loud. One interviewee even mentioned that the audience of a classical music concert ‘doesn’t seem to have fun.’ These differences were perceived as a negative aspect of classical music concerts, although some participants mentioned that if they were in the right ‘frame of mind’ it wouldn’t put them off attending classical music concerts, as they would prepare themselves for the differences between the concerts and their normal evenings out.

A couple of non-attendees of classical music concerts mentioned that they had had negative experiences when attending classical music concerts specifically due to applauding at the incorrect time.

‘Apparently I clapped at the wrong time once and people told me to be quiet, even though nothing was going on, there was no music even playing! To be honest that put me off a lot.’ Catrin Lloyd (2016)

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This links to the point Baker (2000) and Scheff et al (1999) make about the unnecessary worries that elitism can cause such as deciding what to wear or knowing when to clap which make classical music concerts not appear for everybody, as some people have been made to feel as though they do not belong in the audience of these events.

4.4 Concert Setting Interviewees were asked whether they had been to any of the arts venues within Cardiff. Every one of the participants stated that they had been to the Wales Millennium Centre (WMC). Participants who attended classical music concerts regularly mentioned that they had been to all of the classical music concert venues in Cardiff such as St David’s Hall, Hoddinott Hall and The Royal Welsh College of Music and Drama Concert Hall. Many non-attendees of classical music concerts had not been to a lot of the specific classical music venues in Cardiff, however had attended a lot of the other arts venues in Cardiff, like The Sherman Theatre, Chapter Arts Centre and The Gate.

When asking the non-attendees what their opinions were of these arts venues, the results were fairly similar. The words ‘grand’ and ‘intimidating’ cropped up and many of the arts venues were described as different to where the participants usually go on a night out.

‘I would never just go into the venue for a drink, I would only go there if I had to.’

Osian Ifans (2016)

Comments such as the above were made when talking about attending these different arts venues, linking to Sigurjonsson (2012) and the idea that the lack of young people at classical music concerts are not because of the dislike of the genre, but the concert settings.

The WMC was looked at in more of a positive light than other classical music concert specific venues like St David’s Hall. Many of the participants mentioned that they liked The WMC because it was ‘Fresh and New’, and felt like it was meant for their age group as it had a modern design to it, although some interviewees described the

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WMC as rather ‘corporate’ and ‘boring’ Other Arts Venues such as the St David’s Hall and the New Theatre were descried as ‘out-dated’, and were associated with the older generation, although some noticed that this could be due to a lack of funding.

‘I don’t feel like they’re aimed at our age group though. Especially the council owned ones like ‘St David’s Hall’ and the ‘New Theatre’. I think it may be because of a funding issue though. Once the ‘WMC’ came along it was like they forgot about all the other arts venues.’

Samuel Jones (2016)

These points link to Kolb (2002) in that the setting of a concert hall only captures the interests of an ageing part of society, and that social purpose will need to be re- discovered for classical music concert settings.

Other interviewees mentioned that they didn’t think the fact that they did not go to these venues was about age, but more about class. Interviewees thought the venues were particularly expensive compared to the places that they would choose to go to on evenings out.

Arts venues such as Chapter and The Sherman Theatre were the venues that a lot of the young people felt as if they could relate to the most. Some of the non-attendees mentioned that they would sometimes go into these venues in the day to get a coffee or a beer. The fact that participants feel that these arts venues are aimed more at their age group would mean that they would be more inclined to go to a classical music concert there, however some participants were concerned with how regular attendees would act if they were to change the venues of the concerts, and how that would effect their experience.

‘I feel that the arts venues aimed at our age group such as ‘Chapter’ and ‘The Sherman’ were to hold classical music concerts, the attendees that already go to these concerts would have something to say, and this would again make it a worse experience for me.’

Aaron Wood (2016)

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The participants were asked what music venues they normally go to, and whether they would feel more inclined to go to a classical music concert if it were to be held in those venues. Venues that the young people stated they enjoyed going to included ‘Buffalo Bar’, ‘Clwb Ifor Bach’ and ‘Gwdihw’. These venues all have a casual, modern vibe and usually host ‘Rock’ or ‘Indie’ nights. When asking the young people whether they would choose to go to a classical music concert at these venues the results varied. Some of the participants stated that they probably would attend a classical music concert at a venue like this as a one off, but perhaps not regularly. Other participants mentioned that they would attend, but there would have to be a twist, and the marketing campaign would have to advertise the events differently to regular classical music concerts.

‘If it had a different spin on it then I would go. Maybe if it was marketed to make it appear more ‘cool’, more like a gig, rather than marketed as a string quartet for example. I’m not going to drink a pint whilst feeling like I’m going down on the titanic.’

Catrin Lloyd (2016)

One participant did mention however that she would not attend a classical music concert if it were to be held at one of these venues. Her reasoning was that it wouldn’t feel like a ‘real’ classical music event, and therefore she wouldn’t want to go.

‘I actually don’t think I would because I’d rather go to something that feels proper. I’d think it would be rubbish before I even got there because it wouldn’t feel professional. It wouldn’t have the right atmosphere.’

Jessica Burgess (2016)

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Attendees tended to talk fondly of classical music concert venues in Cardiff. Although attendees noticed that the concert halls were grander than the usual concert venue, most mentioned the fact that they were designed to be like that in order to enable better acoustics for the type of concert being performed there.

‘They’re quite posh and grand but I suppose they’re like that for a reason. For example, Hoddinot hall in the WMC was built for a rehearsal space for the BBC National Orchestra of Wales, as well as a soundtrack and television studio so the acoustics had to be good.’

Emily Darlington (2016)

When asking attendees how important the music venue was when deciding what classical music concerts to go to, the results were fairly consistent that the venues didn’t take that much of a priority.

‘The venue never really plays that big a part. If there was a concert that I really wanted to go to then I’d still go no matter where it was held.’

Rachel Walsh (2016)

4.5 Knowledge, information and Awareness The Researcher aimed to assess whether potential attendees felt that in order to attend classical music concerts, certain background information or relevant experience with classical music was necessary (Jackendorff and Lahrdahl 1982). The interviewer first asked the participants what they understood by the term ‘classical music’. This question displayed very different results when answered by participants who do not attend classical music concerts, compared to the results answered by interviewees who do attend classical music concerts.

Attendees seemed to have no problem defining the term ‘Classical music’. Most spoke about it being the ‘umbrella term for music that isn’t popular music’. Some went on to explain how the term could also mean ‘a specific period of time when the

Page | 26 music was being written’ however stated that it didn’t seem to be used in that sense so much anymore.

Non-attendees answered the question with restraint, often using one-word answers. The words ‘Orchestras’ and ‘instrumental’ cropped up a fair bit. Only one participant mentioned that they thought ‘Choral music’ was a form of classical music, whereas the other interviewees mentioned that the term classical music meant having ‘no vocals’. All non-attendees talked about ‘talent’ and ‘skill’ when referring to classical music and some participants felt as if pieces have to be ‘held in high regard’ in order to be classed as a form of ‘classical music’.

On asking attendees about how they chose which classical music concerts they attended, the majority of attendees spoke about the programme being a huge factor in which classical music concerts they go to:

‘From growing up playing in an orchestra, I know which classical music I like and do not like. For example, I love the ‘Romantic period’ and know plenty of music from that period. If there was some music being played that was composed by ‘Tchaikovsky’ or ‘Rachmanninov’ for example, I know that they wrote their music during this time frame and that I like their music. Even if I didn’t know the piece that was being played, I would probably still enjoy the concert as I would know fairly similar type of works.’

Jack Welch (2016)

Other attendees mentioned that the specific orchestra also plays a part in deciding which classical music concert to attend.

‘If the Orchestra’s really good, such as the WNO or the LSO, then I know that most of the things they play I’ll like.’

Angharad Thomas (2016)

Some non-attendees mentioned that they felt they lacked knowledge regarding different composers or orchestras, and that this potentially puts them off attending the concerts, linking to Kolb (1999) in that when talking about classical music, young

Page | 27 people would often speak about ‘understanding’ the music, rather than how the music makes them feel.

One interviewee mentioned that they felt the emphasis was on the composer rather than performers. The participant found this strange, as it was different to the type of music that they listened to:

‘The terminology is strange to me which seems to put me off, as it’s different to what I’m used to. Most composers just seem to write the music and don’t seem to perform their own music, so I feel like there’s so much background information to know that the prospect of going to one of these concerts doesn’t seem to be worth it.’

Jessica Burgess (2016)

This statement is representative of the young people who did not attend classical music concert and links to the findings of Jackendorff and Lehrdahl (1982) and Scheff et al (1999), as if works or conductors are not well known, it could be seen as an unwelcoming environment for non-attendees to enter, and puts potential concert attenders off of the idea.

Relating to this, another non-attendee mentioned that she felt that classical music concerts weren’t something that you choose, however more of an art form that you have to go to in order to feel educated.

‘I think the main stress is on people being educated. I’m friends with people who study music and they seem to play every instrument under the sun. I sit there and feel so intimidated at the fact that I couldn’t play anything. It feels exclusive and that you have to have a certain skill to enjoy that type of music.’

Catrin Lloyd (2016)

All of the interviewees who were attendees of classical music concerts were introduced to the genre at a young age. Most classical music attendees mentioned that they felt one of the main reasons why they go to classical music concerts was due to the fact that their parents took them to classical music concerts when they were

Page | 28 younger, and others were involved in outreach courses given by professional orchestras around the UK.

‘I remember the first classical music concert I went to when I was the ‘Royal Philharmonic orchestra in London. They were doing some outreach concert. We got to go up and try all the instruments. I remember it being a really enjoyable experience, and I couldn’t wait to learn to play an instrument.’

Rachel Walsh (2016)

4.6 Playing an Instrument

All of the attendees of classical music stated that they played an orchestral instrument. A few of these participants are currently studying music in university and felt that one of the main reasons they go to classical music concerts was because they wanted to better themselves at their instrument. The quote below is common to the observations made by classical music attendees:

‘Specifically I feel like I get inspiration from good concerts. Because that’s what I want to do with my life, going to watch a really good concert can confirm that, and it makes me want to practice for hours and hours. So it’s mainly because I play an instrument.’

Emily Darlington (2016)

Non-attendees were asked whether they wanted, or ever wanted to learn to play a classical music instrument, and whether they thought this would enhance their enjoyment of classical music and therefore encourage them to go to classical music concerts.

‘Yes I’ve wanted to play the piano, I feel If I did then maybe I’d have more of an understanding and want to go to classical music concerts, however I don’t really feel like I have much of an interest in it otherwise I would have done it by now, as that’s the type of person I am. Maybe If I learnt it when I was a child it would have been different.’

Ciara Llewellyn (2016)

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The reasons why some of the non-attendees do not play music instruments varied. Factors included parents not having enough money when the participants were younger, lack of time to learn an instrument now, as well as intimidation holding them back when learning an instrument as a young adult.

Other attendees of classical music concerts however, mentioned that they would perhaps be able to enjoy concerts more if they didn’t play a classical music instrument, or even know the pieces that were being played:

‘Because I study music, I always seem to look at the double bassists as that’s the instrument I play. I find myself being quite critical, whereas I may possibly enjoy it more if I didn’t do that. I tend to focus too much. I think that with pieces I don’t know I can take a step back a bit more but if I know the pieces then I’m just thinking of the double bass part in my head.’

Rachel Walsh (2016)

The interviewees however still stated that they thought some understanding of classical music would still be needed in order to fully enjoy the concert, relating to the views of Jackendorff and Lehrdahl (1982), Kolb (1999), Scheff et al (1999) and Baker (2000).

4.7 Accessibility

A topic that came up more than once was the fact that non-attendees felt as if classical music wasn’t accessible enough. One non-attendee mentioned:

‘ I feel that the reason don’t go to classical music concerts because its not accessible. Music is everywhere, its all over the media, on TV, all the radio stations but it’s not classical music that’s being played.’

Aaron Wood (2016)

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Other respondents mentioned that they felt classical music was non accessible as they hadn’t grown up with classical music and wouldn’t know where to begin when deciding what classical music concerts to go to:

If you’re not brought up with classical music then its not actually there. If you don’t have the opportunity to get to know what you like or what you don’t like, like you do with most music that you hear all the time then it’s kind of daunting and you wouldn’t know where to start.

Jess Burgess (2016)

‘I could put on classical FM and listen to it for 3 hours and not really like anything but that doesn’t mean that I don’t necessarily like classical music, it just means that I don’t like what I’ve heard. I think that if you haven’t had the opportunity to grow up with it, how are you supposed to know what you want to listen to?’

Samuel Jones (2016)

Referring back to the point made by Baker (2000), these findings reiterate that feeling less confident about whether or not they would like the event can explain the lack of attendance at classical music concerts

4.8 Marketing When focussing on why young people don’t attend classical music concerts, the idea of marketing becomes vital in order to attract new audiences. Marketing was a factor that was mentioned by both attendees and non-attendees in regards to why they felt as if young people were not attending classical music concerts. When asking the non- attendees how they found out about their evenings out, every one of them mentioned social media sites such as Facebook and Twitter, and the second most popular answer was simply by word of mouth- through friends and family.

Many of the non-attendees stated that they just weren’t aware of any of the concerts that were taking place throughout Cardiff. They felt as if classical music concerts would never advertise online, and the places that they seemed to advertise would

Page | 31 never reach their age group, linking to another point made by Baker (2000), in that young people are simply unaware of the opportunity of attending classical music concerts.

‘Where would you even go to look? St David’s Hall? I don’t ever go there and would never just be ‘popping by’. I don’t feel as if there’s any marketing persuading me to go to these concerts, so why should I?’

Jaydon Martin (2016)

Non-attendees mentioned that the marketing for classical music concerts is definitely a lot different than that of more popular music concerts, linking to the views of Kolb (1999) and Scheff et al (1999), and proving that even 17 years after these studies were made, the same factor still applies as to why there is a lack of awareness and motivation to attend classical music concerts.

‘If there’s a band playing, you always seem to know about it, whether you like the band or not. There are always posters up around town for months. Whether or not there are more posters or not, or whether it’s the fact that it’s aged at my age group, I’m not sure. But the point is, I know about these concerts, and not about classical music ones.’

Osian Ifans (2016)

‘My friend works in the music department of Nottingham University and her job is advertising the music concerts they put on. She only seems to advertise within the students themselves that already attend the concerts, so how are potential new attendees supposed to find out about concerts?’

Catrin Lloyd (2016)

Regular attendees also mentioned that they felt as if marketing was a problem concerning the lack of young people attending classical music concerts:

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‘Sometimes I get the concert programmes but I mainly find out through word of mouth, as I know all the right people. But I’m not sure how somebody who isn’t in that ‘crowd’ would find out.’

Angharad Thomas (2016)

‘I feel like I have to proactively find out what's going on. I always find out about the concerts after they’ve been on so it’s definitely not marketed at my age group.’

Rachel Walsh (2016)

‘I think they advertise concerts well in ‘St David’s Hall’, but who’s ever in St David’s Hall? I feel as though subscribers would find out about concerts but they already go to all of the concerts so it seems as though they’re advertising to the wrong people ‘

Jack Welsh (2016)

These comments are representative to the majority, as attendees stated that they felt as if arts organisations were mainly marketing their upcoming concerts to subscribers, and the focus was showing the information regarding the concert, and not attracting new audiences. Views were that the promotional tactics that are aimed towards attracting the middle class older audience don’t particularly appeal to the younger ages. This echoes the ideas talked about in the John S. and James L. Knight Foundation (2002) in that orchestras are dependant on subscription marketing, and are facing a dilemma of whether to keep marketing to these people, or to change strategy and target the younger audiences.

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4.9 Ticket Prices

Interviewees were asked about their opinions on the ticket prices of classical music concerts. The results were fairly consistent in that non-attendees either assumed that the price to attend a classical music concerts were high, or that they were unsure about the price of classical music concerts.

‘I am not at all aware of the price of classical music concerts. I would have guessed upwards of around £20.’

Catrin Lloyd (2016)

Considering the fact that there are many substitutes to an evening out to a classical music concert, it is extremely important to set the right price for classical music concerts if young people were to be involved in attending. Non-attendees were fairly taken-back upon finding out that in actual fact, due to student reductions, the prices of classical music concerts were fairly low. For example, St David’s Hall offers half price student tickets for orchestral concerts (St David’s Hall, 2016), and WMC also offer different forms of discount.

Once telling the attendees this fact, the majority commented that this was a positive idea, however they were unsure if this would make them actively attend the concerts on a regular basis, as they would only buy tickets in advance if they were sure that the concert was going to be an enjoyable experience. This links back to the point of lack of awareness, and the fact that rarely, apart from operas, no reviews are available to read before a classical music concert unlike the theatre or cinema, and this could lead to people feeling inclined to buy a ticket, as they do not wish to take the risk (Baker, 2000).

4.10 Motivations

Finally, interviewees were asked about what they felt would motivate them personally to attend classical music concerts. Interviews spoke about the concert setting. Although some people mentioned that classical music concerts should perhaps be held in venues that young people are used to such as bars or pubs, others pointed out that this idea could work the other way around.

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‘I feel like more current artists that young people listen to should play in venues such as St David’s Hall or the New Theatre. Like, Contemporary artists play in the Royal Albert Hall which is cool because it can get people used to the setting.’

Sam Jones, (2016)

Others mentioned the fact that combining classical music with other forms of music that are more relatable for young people could be a useful technique in getting young people to attend classical music concerts.

‘I think its really good what the BBC are doing at the moment. The Electric Proms, for example getting the Philharmonic orchestra to do a set with a contemporary artist. I think that could get more people interested in it. ‘

Aaron Wood, (2016)

‘I saw a BBC garage night on TV with an orchestra. It was amazing. Dizzy rascal was there with an orchestra behind him. I’d definitely go to something like that!’

Catrin Lloyd (2016)

These ideas link with Pitts (2012), in that there has clearly been evolution in music, education and family listening habits, which has clarified societal change. The comments above also relate to the findings of Baker (2000), due to the fact that the differences between the music that the young people usually listen to and the music played in the classical music concerts can make the potential young concert attendees unconfident about whether or not they would like the event.

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5. Conclusion and Recommendations

The study focused on research presented by various authors, such as Peterson et al (1996), (Kolb 2001) and Sandow (2012) stating that older people are over-represented in the audiences of classical music concerts. The dissertation aimed to take this research further, and look into the issues and perceptions of young people aged 18-25 towards attendance and participation at classical music concerts, and explore the hypothesis by conducting semi-structured interviews. Specific areas that the study focused on were the concert audience and atmosphere, concert setting, knowledge information and awareness, and social issues of classical music concerts.

Many of the results from the interviews mirror the outcomes of the discussions mentioned in the literature review. Right from the introductory questions it is clear that stating that young people do not listen to classical music is why they do not attend concerts cannot simply solve the subject matter. It is clear that young people do actually listen to the genre of music, but are purely missing from the audiences of classical music concerts. (Sigurjonsson, 2012).

The results showed that non-attendees of classical music concerts generally felt uncomfortable in the presence of regular audience members, concentrating on ideas of elitism and the reinforcement of the older generation’s value, linking to the studies of Small (1987). The fact that they felt uncomfortable in these situations leads to fewer of young people attending, since the cliques and unwelcoming audience members would put them off.

Results also showed that the non-attendees of classical music concerts in Cardiff didn’t feel relaxed in the venues of classical music concerts, linking to the findings of Sigurjonsson (2012) and Kolb (1999). Some of the interviewees stated that they would perhaps attend a classical music concert if it were held in a more laid-back, relaxed environment, however they felt as if traditional audience members wouldn’t like that idea, linking to Lebrecht (1997). The researcher would suggest possibly not targeting these types of events at the older audience member. Chamber music concerts could be held in casual bars, pubs or cafes as the venues would not be large enough for entire orchestras to hold concerts. With this idea, the young people could get familiar with the thought of attending classical music concerts and may then transition into attending concerts taking place in specific classical music concert halls.

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Alternatively, the classical music concert halls in Cardiff could begin holding popular music concerts targeted at young adults. This way, the young people could become accustomed to the settings of classical music concerts and feel more comfortable to attend them.

The idea of knowledge information and awareness was brought up in the semi- structured interview. This seemed to be a very important factor, as many of the young people felt as though a certain knowledge or level of education was needed in order to attend classical music concerts, similar to the findings of Jackendorff and Lehrdahl (1982). The idea was highlighted by the attendees of classical music concerts, explaining that the programme and the composer are two very important influences when choosing which classical music concert to attend. As well as these factors, young attendees of classical music concerts also stated that they felt if they played a classical instrument, they would receive more enjoyment by going to classical music concerts. This point was also emphasised by the results of the attendees of classical music concerts, stating that because the majority of them attend classical music concerts in order to gain inspiration and subsequently enhance themselves at their chosen instrument.

The researcher suggests targeting educational schemes towards young adults in order to increase positive attitudes towards classical music and its concerts. As plenty of outreach programmes are aimed at children and old people, the researcher feels as though it would be important to acknowledge that the life routine young people is extremely different to that of children or older adults. The researcher would recommended the health benefits of classical music being explained to young people, such as boosting brain power, enabling relaxation, lowering stress and increasing physical performance.

Marketing was another important factor brought up in the interviews. Emphasis was placed on the importance of gaining new audience members instead of marketing to the current audience of classical music concerts, as thoughts were that these people would be attending the concerts anyway. Since the young people are not subscription members of arts venues, and do not tend to be looking at the walls of venues such as St David’s Hall, new marketing tactics were proposed by the young people. The social media presence of both arts organisations and orchestras were mentioned in that

Page | 37 they needed improving, as all of the participants stated that they found out about their activities online via Facebook or Twitter.

The studies found that young people generally want more from their evenings than going to a concert hall, sitting down, listening to some music and then going home. As Kolb (1999) and Abercrombie and Longhurst (1998) stated: young people today are extremely visual, and this fact should be utilised by both the marketing of the events, along with the forms of classical music concerts that take place. The researcher suggests adding short films or illustrations along with the music on a backdrop. Even something as simple as placing big screens either side of the stage at a concert in order for the conductor or members of the orchestra/choir’s faces to be seen could make the experience more visually stimulating for young people. As well as bringing more visual aspects to the concert hall, a suggestion made by various participants was to combine classical music with that of other genres that young people are more comfortable listening to such as rock, hip-hop or electronic music. Again, this links back to the need to feel at ease and comfortable at these types of events.

If costs were not an issue, the researcher would have liked to have taken the young people to a classical music concert in a venue such as St David’s Hall or the Wales Millennium Centre, and held focus groups both before and after the concerts to see if the views stayed the same or differed, so this is a possibility for further research. The researcher also believes that there are other topics to explore relating to why young people do not attend classical music concerts.

To conclude, the issues and perceptions of people aged 18-25 towards attendance and participation at classical music concerts are wide-ranging, and this study can only be classed as a starting point, in the hope of stimulating further, more up-to date research on the subject. Recommendations for further research would be to conduct more investigations into the older audience members of classical music concerts and what their motivations for attending classical music concerts are. Secondly, the researcher feels as though more studies could be completed regarding the social class or ethnicities of the young people who do and don’t attend classical music concerts. As the researcher found out that learning to play a musical instrument as a child was an important factor in attending classical music concerts as young adults, it would be

Page | 38 interesting to investigate into whether having more money when growing up to spend on musical education makes a significant difference in the young people that attend classical music concerts.

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Baker, Tim. "Stop Re-Inventing The Wheel: A Guide To What We Already Know About Developing Audiences For Classical Music". Association of British Orchestras 1.1 (2000): 8. Web. 27 Jan. 2016

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Frith, S (1996) Performing rites: on the value of popular music. Harvard University Press, Cambridge.

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Jackendoff, Ray, and Fred Lerdahl. "A Grammatical Parallel Between Music And Language". Music, Mind And Brain. Manfred Clynes. 1st ed. New York: Plenum Press, 1982. pp 83-117

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John S. and James L. Knight Foundation,. Classical Music Consumer Segmentation Study. Southport: Audience Insight LLC, 2002. Print. How Americans Relate To Classical Music And Their Local Orchestras.

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Kolb, Bonita M. 1999. The Culture Consumer: A new model for understanding attendance. AIMAC Conference Papers 1999.

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Lebrecht, N. 1997. When the music stops: Managers, maestros and the corporate murder of classical music. London: Simon & Schuster

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McAloon, Jonathan. "Are Young People Scared Of The Proms – Or The Audience?". The Telegraph 2015: n. pag. Print.

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Pitts, S.E., Dobson, M.C, Gee, K., & Spencer, C.P. (2013) ‘Views of an Audience: Understanding the Orchestral Concert Experience from Player and Listener Perspectives’, Participations, 10/2, 65–95.

Rentfrow, P. J., & Gosling, S. D. (2003). The do re mi’s of everyday life: The structure and personality correlates of music preferences. Journal of Personality and Social Psychology,

Rentfrow, PJ and Gosling S.D. (2006) Message in a ballad: The Role of Musical Preferences in interpersonal perception. Psychological science.

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Russell, P.A. (1997) Musical tastes and society in D.J. Hargreaves and AC North (eds.) The social Psychology of music (p.p. 161-187), oxford: Oxford university Press

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Vroon, Donald. Classical Music In A Changing Culture: Essays From The American Record Guide. Lanham: Rowman & Littlefield Publishers, 2014.

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Appendices

1. Participants – Non Attendees of Classical Music Concerts 1. Ciara Llewellyn 2. Osian Ifans 3. Catrin Lloyd 4. Jess Burgess 5. Aaron Wood 6. Jaydon Marten 7. Sam Jones

2. Participants – Attendees of Classical Music Concerts 1. Rachel Walsh 2. Emily Darlington 3. Angharad Thomas 4. Jack Welch

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3 – Ethics Form

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PART ONE Name of applicant: Sara Friel Supervisor (if student project): Dewi Jaimangal-Jones School / Unit: Cardiff Metropolitan University Student number (if applicable): ST20054030 Programme enrolled on (if applicable): Events Management Project Title: The issues and perceptions of young people in Cardiff, in their early twenties towards attending classical music concerts. Expected start date of data collection: 01/02/2016 Approximate duration of data 4 Weeks Fundingll ti Body (if applicable): N/A Other researcher(s) working on the N/A project: Will the study involve NHS patients or No staff? Will the study involve taking samples of No human origin from participants?

Does your project fall entirely within one of the following categories: Paper based, involving only documents No in the public domain Laboratory based, not involving human No participants or human tissue samples Practice based not involving human No participants (eg curatorial, practice audit) Compulsory projects in professional No practice (eg Initial Teacher Education) A project for which external approval No has been obtained (e.g., NHS) If you have answered YES to any of these questions, expand on your answer in the non- technical summary. No further information regarding your project is required. If you have answered NO to all of these questions, you must complete Part 2 of this form

In no more than 150 words, give a non-technical summary of the project

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As previous studies such as those conducted by Scheff, Dodge & Welch (1999) And Kolb (2001) show, young people in their early twenties are missing from the audiences of classical music concerts. The aim of this study is to research into why young people generally do not attend classical music concerts, looking into issues related to concert atmosphere, social factors, price and life style. The author will conduct research secondary research to analyse existing data on the attendance of classical music concerts. Primary research will also be conducted by holding semi-structured interviews.

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PART TWO A RESEARCH DESIGN A1 Will you be using an approved No protocol in your project? A2 If yes, please state the name and code of the approved protocol to be usedi N/A A3 Describe the research design to be used in your project Semi-Structured Interviews will be carried out in order to use open ended questions to collect qualitative information. Originally, questionnaires were going to be used however the freedom of response linked to semi-structured interviews will allow the researcher to gain opinions and thoughts of the participant, and to see if they link to the subheadings in the literature review.

The researcher intends to interview around 10 people by using convenience sampling. The interviews will take place in February, 2016. And participants will be friends of the interviewer which means it will be easy to organise the interview dates. All interviewees will be aged between 18 and 25 and will live in Cardiff which fits the target group that is being researched. The interviews will be recorded and will vary in length depending on the depth that the participant goes into on each question, however 30 minutes will be a rough timeframe.

Interviewees are required to complete the consent form before they can take part in the study and all interviews will be audio recorded. The interviews will be anonymous. The interview recordings will be stored on password protected devices. Once transcribed, the audio files will be deleted. The information sheet will outline any potential risks and what the researcher is hoping to achieve by carrying out the process.

Results will be analysed by using a thematic approach. A4 Will the project involve No deceptive or covert research? A5 If yes, give a rationale for the use of deceptive or covert research N/A

i An Approved Protocol is one which has been approved by Cardiff Met to be used under supervision of designated members of staff; a list of approved protocols can be found on the Cardiff Met website here

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A6 Will the project have security No sensitive implications? A7 If yes, please explain what they are and the measures that are proposed to address them N/A

B PREVIOUS EXPERIENCE B1 What previous experience of research involving human participants relevant to this project do you have? None.

B2 Student project only What previous experience of research involving human participants relevant to this project does your supervisor have? PHD is social sciences

C POTENTIAL RISKS C1 What potential risks do you foresee? The interviewer’s safety whilst conducting research could be a potential risk. Potential risks may include the interviewee may not want to answer questions if the information is confidential or personal - the interviewee may be offended by the questions .Participants may get anxious about what they have written/said to the researcher also. Another risk could be if the participant amount drops and individuals withdraw from the study. C2 How will you deal with the potential risks? Interviews will be arranged in advance at a location at a public place confirmed by the researcher and participant. The researcher will take their mobile phone with them to the interview.

The subjects will take part in the research methods freely and only on the basis of informed consent, and it will be insured that no harm will befall the research subjects. The research will be Overt, meaning that the researcher will reveal the reason for their research and their identity, and participants will be insured that all information will be destroyed after use.

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The researcher will ensure that people chosen to be interviewed are reliable individuals. The author will also ensure that if somebody drops out, other people will be able to fill the gap.

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PARTICIPANT INFORMATION SHEET The issues and perceptions of Young people in Cardiff, in their early twenties towards attending classical music concerts.

Project summary

The purpose of this study is to research into why young people generally do not attend classical music concerts. Your participation will enable the collection of data which will form part of a study being undertaken at Cardiff Metropolitan University. Why have you been asked to participate? You have been asked to participate because you fit the profile of the population being studied; that is you are between the ages of 18 and 25 and live in or around the City of Cardiff.

During the interview you will be asked about your perceptions of Classical music concerts, why you do or do not attend concerts, and what issues you feel need addressing in order to make you attend more.

Your participation is entirely voluntary and you may withdraw at any time. Project risks The research involves an interview and which will be recorded for later analysis. We are not seeking to collect any sensitive data on you; we do not think that there are any significant risks associated with this study. However, if you do feel that any of the questions are inappropriate then you can stop at any time. Furthermore, you can change your mind and withdraw from the study at any time – we will completely respect your decision. How we protect your privacy All the information you provide will be held in confidence. We have taken careful steps to make sure that you cannot be directly identified from the interview. Your personal details (e.g. signature on the consent form) will be kept in secure locations by the research team. When we have finished the study and analysed all the information, all the documentation used to gather the data will be destroyed. The recordings of the focus interview will also be held in a secure and confidential environment during the study and destroyed when it is complete.

YOU WILL BE OFFERED A COPY OF THIS INFORMATION SHEET TO KEEP

If you require any further information about this project then please contact:

Sara Friel , Cardiff Metropolitan University,

Email: [email protected]

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Order of the Discussed Comments Interview

Cardiff Metropolitan University Ethics Committee PARTICIPANT CONSENT FORM

Cardiff Metropolitan University Ethics Reference Number: Participant name or Study ID Number: Title of Project: The issues and perceptions of Young people in Cardiff, in their early twenties towards attending classical music concerts.

Name of Researcher: Sara Friel ______Participant to complete this section: Please initial each box. 1. I confirm that I have read and understand the information sheet for the above study. I have had the opportunity to consider the information, ask questions and have had these answered satisfactorily. [ ]

2. I understand that my participation is voluntary and that I am free to withdraw at any time, without giving any reason. [ ]

3. I agree to take part in the above study. [ ] 4. I agree to the interview / focus group / consultation being audio recorded [ ] 5. I agree to the use of anonymised quotes in publications ______Signature of Participant Date

______

Name of person taking consent Date ______

Signature of person taking consent

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Welcome all the participants and introduce myself and the project title.

Make sure the interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background Questions (Name/ Age/ Studies) 2) What Leisure time activities do you take part in?

3) What music do you enjoy listening to? 4) What do you understand by the term ‘Classical Music’ ? 5) How often (If ever) do you attend classical music concerts? 6) Do you attend any other type of ‘arts’ shows? (Theatre,

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Dance, Opera?) 7) Do you ever listen to classical music at home? In the Car? 8) Did you grow up listening to classical music at home? 9) Have you been to many arts venues in Cardiff? - Which ones? - What springs to mind when you think of these venues? Opinions -Do you feel like these venues are aimed at your age group? 11) What music venues do you usually go to? Would you feel more inclined to go to a classical music concert if it were to be held here? 12) What are your opinions about the audience of classical music concerts? -Age? Education? Class? -What do they

Page | 54 wear? -Would this put you off going to classical music concerts? 13) Do you feel like any particular rules, etiquette or behaviour would be expected of you if you attended these concerts? Would that potentially put you off attending? 14) Would you . ever consider going to a classical music concert in a social setting? -With a friend -On a date? - Why? 15) How do you usually find out about your evenings out?

16) How aware would you say you are about classical music concerts taking place in Cardiff? - Price? Did you know you could get £5 tickets for students?

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Discussed Comments 17) Have you everOrder been of the Interview interested in learning a classical instrument?

18) What would motivate you to attend a classical music concert? - Cheap tickets? -Friends attending or playing? - Known Venue -Learning to play and instrument? -Awareness?

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Welcome all the participants and introduce the project title and myself.

Make sure the interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background Questions - Name - Age - Studies 2) What Leisure time activities do you take part in?

3) What music do you enjoy listening to? 4) What do you understand by the term ‘Classical Music’? 5) Do you play a musical instrument? 6) How often do you attend classical music concerts? 7) Do you attend any other type of ‘arts’ shows? (Theatre, Dance, Opera?) 8) Did you grow up listening to classical music? 9) Do you remember the first classical music concert you went to? - What made you attend? 9) Has your experience of attending classical music concerts changed since you first started attending? - Developing knowledge about the music and the players? How do these affect your experience? - Feeling comfortable in the concert hall and with the other audience members? Getting to grips with the

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‘concert etiquette’

10) Have there been any concerts that you haven’t enjoyed? Why didn’t you enjoy the concert? 11) What do you feel about concert halls in Cardiff? Do you have a favourite? Why do you enjoy going to concerts there?

12) How do concerts fit in with things that you do in your spare time? -Do they take priority? -More of a ‘Now and Again’? -How important to you is attending the concerts? What do you specifically get out of them or enjoy about them?

13) How do you choose which concerts to go to? -Performers -Programme -Familiarity -Venue Advertising

14) How do you find out about the concerts? 15) What do you think about the price of classical music concerts? -How much would you be willing to pay?

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16) To what extent is going to a . classical music concert a social activity for you? -Do you prefer going on your own or with friends? - Is it important that the audience is ‘Well Behaved?’ 17) How do you suppose new audience members could be encouraged to attend concerts within Cardiff?

4- Interview Responses

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Order of the Interview Discussed Comments

Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Aaron Wood, 22, Medicine Questions (Name/ Age/ Studies)

2) What Leisure time YES Going to the pub, researching, cooking, cycling activities do you take part in?

3) What music do you YES Rock, hip-hop, electronic enjoy listening to? 4) What do you YES Orchestrated, written by a composer. understand by the term ‘Classical Music’ ?

5) How often (If ever) YES Never do you attend classical music concerts? 6) Do you attend any YES No other type of ‘arts’ shows? (Theatre, Dance, Opera?) 7) Do you ever listen to YES Yes, I Listen to it when I study. It helps me classical music at concentrate home? In the Car?

8) Did you grow up YES No listening to classical music at home?

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9) Have you been to YES Sherman Cymru, Chapter, No fit state. I don’t many arts venues in really tend to go to the ones that show Cardiff? classical music. - Which ones? - What springs to mind when you think of these venues? Opinions -Do you feel like these venues are aimed at your age group? 11) What music YES Welsh club, buffalo. Yes, because I’d be venues do you usually going there anyway. Convenient. go to? Would you feel more inclined to go to a classical music concert if it were to be held here?

12) What are your YES Old people opinions about the audience of classical music concerts? -Age? Education? Class? -What do they wear? -Would this put you off going to classical music concerts? 13) Do you feel like YES I feel like everybody has to know when to do any particular rules, certain things, such as clap or even show any etiquette or behaviour sort of emotion would be expected of you if you attended these concerts? Would that potentially put you off attending? 14) Would you ever YES Not really, I go to pubs or bars. consider going to a classical music concert in a social setting? -With a friend -On a date? - Why?

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15) How do you usually YES Online, friends find out about your Order of the Interview Discussed Comments evenings out?

16) How aware would YES Not aware at all. I don’t know whether the price you say you are about would really make that much of a difference in classical music me attending, as I like to know that I’ll concerts taking place definitely enjoy something if I spend my money in Cardiff? on it – expensive or not. - Price? Did you know you could get £5 tickets for students?

17) Have you ever YES I play guitar and bass but I guess ive never been interested in been interested in learning a classical learning a classical instrument instrument?

18) What would YES I think it’s really good what the BBC are doing motivate you to attend at the moment. The Electric Proms, for a classical music concert? example getting the Philharmonic orchestra to - Cheap tickets? do a set with a contemporary artist. I think that could get more people interested in it. -Friends attending or playing?

- Known Venue -Learning to play and instrument? -Awareness?

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Catrin, 24, Drama, theatre and media studies Questions (Name/ Age/ Studies) 2) What Leisure time YES Drinking, going to the theatre, the gym, ramble activities do you take part in?

3) What music do you YES Charts, pop. I like most things apart from enjoy listening to? metal. 4) What do you YES Choral music, most of the composers are understand by the term dead. New classical music is weird, like that ‘Classical Music’? John Cage 4 minutes 11 where the orchestra doesn’t play anything at all. I mean it’s cool in theory but imagine having to just sit there for 4 minutes not doing anything? I don’t really get it. 5) How often (If ever) YES Only been to choir concerts in school, not do you attend classical really of own will. music concerts? 6) Do you attend any YES Yes theatre, gigs, dance other type of ‘arts’ shows? (Theatre, Dance, Opera?) 7) Do you ever listen to YES I sometimes download pod casts to help me classical music at sleep. home? In the Car? 8) Did you grow up YES I suppose so, yes. Is Karl Jenkins classed as listening to classical classical music? music at home?

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9) Have you been to YES Yes I’ve been to them all. WMC, Sherman, many arts venues in chapter, St David’s Hall, The Gate, No Fit Cardiff? State. - Which ones? They’re really grand compared to where we go usually on a night out. You wouldn’t have a - What springs to mind classical music concert in like the SU. when you think of these venues? Opinions -Do you feel like these venues are aimed at your age group? 11) What music YES If it had a different spin on it then I would go. venues do you usually Maybe if it was marketed to make it appear go to? Would you feel more inclined to go to a more ‘cool’, more like a gig, rather than classical music concert marketed as a string quartet for example. I’m if it were to be held here? not going to drink a pint whilst feeling like I’m going down on the titanic.

12) What are your YES Older, I can imagine blind people going to opinions about the watch it. It doesn’t seem like an art form that audience of classical people choose, more like an art form that you music concerts? have to go to in order feel educated. -Age? Education? I think the main stress is on people being Class? educated. I’m friends with people who study -What do they wear? music and they seem to play every instrument -Would this put you off under the sun. I sit there and feel so going to classical intimidated at the fact that I couldn’t play music concerts? anything. It feels exclusive and that you have to have a certain skill to enjoy that type of music.

13) Do you feel like YES I clapped at the wrong time once apparently any particular rules, and people told me to be quiet. To be honest etiquette or behaviour that put me off a lot. would be expected of you if you attended these concerts? Would that potentially put you off attending?

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14) Would you ever YES No, I can think of much better places to go to consider going to a on a night out than to a classical music classical music concert concert. You wouldn’t be able to talk over the in a social setting? music with friends; you’d definitely get shushed. -With a friend -On a date? - Why? 15) How do you usually YES Mainly through our friend Jess. She always find out about your knows what’s going on. evenings out?

16) How aware would YES I am not at all aware of the price of classical you say you are about music concerts. I would have guessed classical music concerts taking place upwards of around £20. in Cardiff?

- Price? Did you know you could get £5 tickets for students?

17) Have you ever YES I wanted to when I was younger when I’d hear been interested in about my friends going on music courses for learning a classical the weekend. They used to come back and instrument? explain how they used to get drunk all weekend when they were like 13. I thought that was really cool. 18) What would YES I saw a BBC garage night on TV with an motivate you to attend orchestra. It was amazing. Dizzy rascal was a classical music concert? there with an orchestra behind him. I’d - Cheap tickets? definitely go to something like that! -Friends attending or playing? My friend works in the music department of - Known Venue Nottingham University and her job is -Learning to play and advertising the music concerts they put on. instrument? She only seems to advertise within the -Awareness? students themselves that already attend the concerts, so how are potential new attendees supposed to find out about concerts?

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Order of the Interview Discussed IComments really feel like the marketing needs to be improved, and it needs to be updated a bit.

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Ciara, 24, Events Management Questions (Name/ Age/ Studies) 2) What Leisure time YES Shopping, going to concerts, watching activities do you take documentaries, meditation part in?

3) What music do you YES Dance, R&B, Hip hop, relaxation enjoy listening to? 4) What do you YES Orchestras, talent, skill, music for the mind understand by the term ‘Classical Music’ ? 5) How often (If ever) YES Been to one – André Rieu – Wembley do you attend classical stadium, conducted an orchestra with singers. music concerts? (Found it hard to describe – lack of knowledge)

6) Do you attend any YES Used to go to theatre with mum, comedy clubs other type of ‘arts’ shows? (Theatre, Dance, Opera?) 7) Do you ever listen to YES Classic FM every morning with nan in car, classical music at knows what music she likes but can’t tell you home? In the Car? what it is. – Vivaldi seasons, happy cheery stuff, quite light

8) Did you grow up YES No, Only since I’ve been a bit older listening to classical music at home? 9) Have you been to YES - WMC, New Theatre many arts venues in - Middle class vibe, older generation, New theatre not aimed at age

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Cardiff? group, however I feel that the WMC - Which ones? is. It’s fresh and new. The New theatre is out-dated and old. - What springs to mind when you think of these venues? Opinions -Do you feel like these venues are aimed at your age group? 11) What music YES Welsh club, buffalo. Yes, because I’d be venues do you usually going there anyway. Convenient. go to? Would you feel more inclined to go to a classical music concert if it were to be held here? 12) What are your YES – older generation, middle class, opinions about the white. audience of classical music concerts? - When I went to see André Rieu with my -Age? Education? Gran, I was sitting on the first tier and all I Class? could see were white heads. There were a -What do they wear? few younger people but definitely few and -Would this put you off far between. going to classical music concerts? 13) Do you feel like YES Couldn’t swear or be drunk, must wear any particular rules, something quite nice and respectful. Different etiquette or behaviour to the usual places that we go but I don’t think would be expected of that would put me off because I’d make sure I you if you attended was in that frame of mind. I’d know what I was these concerts? Would going to do and I’d prepare myself that potentially put you off attending? 14) Would you ever YES My friends wouldn’t be interested. If I was consider going to a going to go I’d go with my nan or family, and I classical music concert feel like that’s one of the reasons I’d enjoy it in a social setting? because I’d be spending time with my nan. I did it because I wanted to spend time with my -With a friend nan but I was also really excited about going to -On a date? a classical music concert. - Why? 15) How do you usually YES I usually find out online or from my friends. I find out about your think even if they had more of a social media

Page | 68 evenings out? presence young people still wouldn’t go. Order of the Interview Discussed Comments 16) How aware would YES Not at all. I had no idea about the price of you say you are about classical music concerts. classical music concerts taking place in Cardiff?

- Price? Did you know you could get £5 tickets for students?

17) Have you ever YES Yes I’ve wanted to play the piano, I feel If I did been interested in then maybe I’d have more of an understanding learning a classical instrument? and want to go to classical music concerts, however I don’t really feel like I have much of an interest in it otherwise I would have done it by now, as that’s the type of person I am. Maybe If I learnt it when I was a child it would have been different.

18) What would YES If I had more knowledge about different motivate you to attend composers or what classical music that I liked a classical music or didn’t like then I’d have more chance of concert? going. I think if I played an instrument then I’d have more reason to go to the concerts, to - Cheap tickets? give me some sort of motivation. -Friends attending or playing? - Known Venue -Learning to play and instrument? -Awareness?

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Jay, 21, Photography Questions (Name/ Age/ Studies) 2) What Leisure time YES Taking photos, pottery, art, going to the pub activities do you take part in?

3) What music do you YES The Smiths, David Bowie, Public Enemy. I like enjoy listening to? most things. Flaming lips are my favourite band. I also love T-Rex. 4) What do you YES It’s not the music I really listen to. I think of understand by the term huge orchestras and dead people mainly, or ‘Classical Music’ ? high pitched people screaming. 5) How often (If ever) YES I went to the WMC to see Handel’s Orlando do you attend classical the other day. But that’s the first time. And music concerts? probably the last. 6) Do you attend any YES No other type of ‘arts’ shows? (Theatre, Dance, Opera?)

7) Do you ever listen to YES Sometimes. classical music at home? In the Car?

8) Did you grow up YES No listening to classical music at home? 9) Have you been to YES WMC was where the opera was. I’ve also many arts venues in been to a few others like ‘The other room’ in

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Cardiff? Porters, and Sherman Cymru. - Which ones? - What springs to mind when you think of these venues? Opinions -Do you feel like these venues are aimed at your age group? 11) What music YES Welsh club, buffalo. Yes, because I’d be venues do you usually going there anyway. Convenient. go to? Would you feel more inclined to go to a classical music concert if it were to be held here? 12) What are your YES Old people opinions about the audience of classical When I first went to see Handel’s ‘Orlando’ in music concerts? the WMC, everybody was wearing a suit but I -Age? Education? wasn’t. I observed some older people not being Class? happy with what other people were wearing. -What do they wear? It’s like they have a uniform. -Would this put you off going to classical music concerts? 13) Do you feel like YES It just seemed so strange. You weren’t allowed any particular rules, to clap in the middle of a song if you enjoyed etiquette or behaviour something. You had to wait, and even then would be expected of people seemed unsure. you if you attended these concerts? Would that potentially put you off attending? 14) Would you ever YES Not reallly consider going to a classical music concert in a social setting? -With a friend -On a date? - Why? 15) How do you usually YES Online, friends find out about your

Page | 71 evenings out? Order of the Interview Discussed Comments

16) How aware would YES Not too aware, however I do work for Buzz you say you are about Magazine so I seem to know about all the classical music other music events that go on within Cardiff. concerts taking place in Cardiff? - Price? Did you know you could get £5 tickets for students?

17) Have you ever YES When I was younger I would have liked to but been interested in it never really seemed like an opportunity, as learning a classical my mum didn’t have too much money when I instrument? was growing up.

18) What would YES I just didn’t feel comfortable. I want to be able motivate you to attend to wear what I want and have no one looking a classical music concert? down at me. Then maybe I’d give it another go because the music itself isn’t too bad. - Cheap tickets? -Friends attending or playing? - Known Venue -Learning to play and instrument? -Awareness?

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Jess, 22, Law Questions (Name/ Age/ Studies) 2) What Leisure time YES Socialising, Art, going to gigs, walks, going to activities do you take the gym part in?

3) What music do you YES Slacker rock, electronic, current enjoy listening to? 4) What do you YES Instrumental, no vocals, long songs. Nothing understand by the term seems to be less than 9 minutes or so, definite ‘Classical Music’ ? distinction on who’s written it than rather than who’s performing it unlike modern music. I feel like you only seem to be using one of your senses to enjoy it. If you go to other gigs and concerts it seems to be the whole experience that’s good, but with classical music you just seem to sit down and listen. You wouldn’t go to a classical music concert if you were deaf, whereas you could probably still go to a gig or definitely theatre if you were deaf. The terminology is strange to me which seems to put me off, as it’s different to what I’m used to. Most composers just seem to write the music and don’t seem to perform their own music, so I feel like there’s so much background information to know that the prospect of going to one of these concerts

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doesn’t seem to be worth it.

5) How often (If ever) YES Never do you attend classical music concerts? 6) Do you attend any YES Yes, theatre, ballet, more visual things. I prefer other type of ‘arts’ looking at the set and the clothes more than shows? (Theatre, the dancing or the music. Dance, Opera?) 7) Do you ever listen to YES No classical music at home? In the Car? 8) Did you grow up YES No listening to classical music at home? 9) Have you been to YES Yes I’ve been to them all. WMC, Sherman, many arts venues in chapter, St David’s Hall, The Gate, No Fit Cardiff? State. - Which ones? I like WMC; It’s really nice and fresh. - What springs to mind I don’t feel like St David’s hall Is meant for our when you think of age group or the New theatre, I always think of these venues? them as the old people place. it just feels so Opinions old and dated, but I love going to the WMC. I used to like going to the New theatre more -Do you feel like these until the WMC was built. Now nobody seems venues are aimed at to care about it and it’s gone downhill. your age group? .

11) What music YES Welsh club, dempsy’s, buffalo, moon club etc. venues do you usually go to? Would you feel I actually don’t think I would because I’d rather more inclined to go to a go to something that feels proper. I’d think it classical music concert would be rubbish before I even got there if it were to be held here? because it wouldn’t feel professional. It wouldn’t have the right atmosphere.

12) What are your YES Older, and posher, middle class, educated opinions about the audience of classical music concerts? -Age? Education?

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Class? -What do they wear? -Would this put you off going to classical music concerts?

13) Do you feel like YES Can’t really be rowdy, you have to be any particular rules, presentable and smart I guess. I think that’s etiquette or behaviour attached to the middle class vibe of it. would be expected of you if you attended these concerts? Would that potentially put you off attending? 14) Would you ever YES It’s a lot less social than a gig for example but I consider going to a go to the theatre on my own. I guess if I had classical music concert an interest in classical music I wouldn’t mind in a social setting? going on my own. -With a friend -On a date? - Why? 15) How do you usually YES Social media mainly. You don’t see classical find out about your gigs on Facebook evenings out?

16) How aware would YES Not aware at all. Where would you even go to you say you are about look? St David’s hall? I don’t ever go there, classical music and would never just be ‘popping by’ concerts taking place in Cardiff? - Price? Did you know you could get £5 tickets for students?

17) Have you ever YES been interested in learning a classical instrument?

18) What would YES I Feel like the reason that people don’t go to motivate you to attend classical music concerts is because its not a classical music accessible. Music is every, it’s all over the media, on TV, all the radio stations but its not

Page | 75 concert? classical music that’s being played. If you’re not bought up with classical music then its not Order of the Interview Discussed Comments - Cheap tickets? actually there, If you don’t have the opportunity -Friends attending or to get to know what you like or what you don’t playing? like, like you do with most music that you hear all the time then its kind of daunting and you - Known Venue wouldn’t know where to start.

-Learning to play and The reason why I don’t go to classical music instrument? concerts now is partially because there’s no -Awareness? marketing persuading me to, and partially because I don’t listen to classical music, but that’s down to what I said before, I don’t know what I like or don’t like.

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Osian Ifans, 24, Drama and Theatre studies Questions (Name/ Age/ Studies) 2) What Leisure time YES Stand up comedy, cooking, going to the pub, activities do you take watching movies, watching bands part in?

3) What music do you YES Progressive rock, progressive punk, punk rock, enjoy listening to? electronic 4) What do you YES Orchestras, held in high regard, skills, understand by the term respected ‘Classical Music’ ? 5) How often (If ever) YES I’ve been to 3 operas but 2 because I had to do you attend classical for work. I don’t attend classical music music concerts? concerts

6) Do you attend any YES Lots of theatre and dance shows. I work in a other type of ‘arts’ theatre so this Is why. shows? (Theatre, Dance, Opera?) 7) Do you ever listen to YES I Never listen to classical music at home. I classical music at sometimes listen to film scores though. I find home? In the Car? them relaxing. 8) Did you grow up YES My grandmother was a big fan, so I did when I listening to classical as at hers. music at home? 9) Have you been to YES Yes I’ve been to them all. WMC, Sherman, many arts venues in chapter, St David’s Hall, The Gate, No Fit Cardiff? State.

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- Which ones? I Feel like WMC is quite corporate, and a lot of - What springs to mind them are pretty expensive. when you think of these venues? I feel like chapter and no fit state do and Opinions Sherman also tries to, but the ones that hold classical music concerts appear out-dated and -Do you feel like these old. I would never just go into the venue for a venues are aimed at drink, only if I had to. your age group? I feel that the arts venues aimed at our age group such as chapter, no fit state and Sherman, were to hold classical music concerts, the attendees that already go to the concerts would have something to say.

11) What music YES Welsh club, buffalo. Yes, because I’d be venues do you usually going there anyway. Convenient. go to? Would you feel more inclined to go to a classical music concert if it were to be held here? 12) What are your YES Older, white, middle class, snobby, very elitist. opinions about the audience of classical I don’t feel like they welcome you. I’ve had music concerts? some bad experiences with the attendees when working in the venues that they perform -Age? Education? in. They tend to complain a lot… It’s definitely Class? put me off attending the concerts. It feels like a community that I’m not part of, like they’re -What do they wear? looking down at you. -Would this put you off going to classical music concerts? 13) Do you feel like YES I feel like you have to make sure what you’re any particular rules, wearing is acceptable. People tend to look etiquette or behaviour down at what you’re wearing, and always have would be expected of something to say about the venue its held in. you if you attended When I first went to the Opera everybody was these concerts? Would wearing a suit but I wasn’t. I observed some that potentially put you older people not being happy with what other off attending? people were wearing. It’s like they have a uniform.

14) Would you ever YES No, it doesn’t seem like something I’d enjoy. consider going to a With classical music concerts it feels like classical music concert everyone has to network first, and then sit down in their assigned seats, and clap when

Page | 78 in a social setting? they’re told to clap etc. I’d much rather go to the pub and see a band. There are no rules, -With a friend and I could have a laugh with my mates. I’d go -On a date? to the theatre on my own though, because I enjoy it. - Why? 15) How do you usually YES Social media, what friends want to do, if find out about your there’s a band that I want to see I’d try and evenings out? convince them to go

16) How aware would YES Pretty aware but only because I work in a you say you are about theatre. If I didn’t then I wouldn’t be aware. classical music concerts taking place I know its very expensive but because I work in Cardiff? in a theatre I know about the various discounts that they do for students however I don’t think - Price? Did you know anybody else knows that. you could get £5 tickets for students? If there’s a band playing, you always seem to know about it, whether you like the band or

not. There are always posters up around town for months. Whether or not there are more posters or not, or whether it’s the fact that it’s aged at my age group, I’m not sure. But the point is, I know about these concerts, and not about classical music ones.

17) Have you ever YES Yes I’ve wanted to play the piano, I feel if I did been interested in then maybe I’d have more of an understanding learning a classical and want to go to classical music concerts instrument? however I don’t really feel like I have much of an interest in it otherwise I would have read up about it and listened to it more as that’s the type of person I am.

18) What would YES If it’s a really recognisable piece of music with motivate you to attend a different spin, and the marketing campaign a classical music notices that there’s a difference, and they were concert? purposely trying to attract our age group, and not the other audience. I think its mainly the - Cheap tickets? audience that already goes to theses concerts -Friends attending or that puts me off mostly. I’d go if it were to be

Page | 79 playing? more commercial and visual, or somebody I knew for example was playing the guitar etc. -Order Known of Venuethe Interview Discussed Comments

-Learning to play and instrument? -Awareness?

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Welcome all the YES N/A participants and introduce myself and the project title.

Make sure the YES N/A interviewee has signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background YES Sam, 24, Sound Questions (Name/ Age/ Studies) 2) What Leisure time YES Going to the pub, watching movies, going to activities do you take the theatre, going to gigs part in?

3) What music do you YES Current, electronic, psych rock, ambient rock, enjoy listening to? things like new rock music. 4) What do you YES Orchestrated, written by a composer. The understand by the term terminology is different to the music we listen ‘Classical Music’ ? to. Most composers just seem to write, they don’t seem to perform their own music. Different to live band shows that seem to be like a spectacle now, its more you just sit down and listen. 5) How often (If ever) YES Never do you attend classical music concerts? 6) Do you attend any YES Lots of theatre and dance shows. I work in a other type of ‘arts’ theatre so this Is why. shows? (Theatre, Dance, Opera?) 7) Do you ever listen to YES Yes, I like classic FM and radio 3, It’s my quiet classical music at time. home? In the Car? 8) Did you grow up YES No listening to classical music at home?

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9) Have you been to YES Yes I’ve been to them all. WMC, Sherman, many arts venues in chapter, St David’s Hall, The Gate, No Fit Cardiff? State. It’s my job, doing the sound for them, so that’s why. - Which ones? They’re quite old fashioned and grand but I - What springs to mind suppose they’re like that for a reason. For when you think of example St David’s hall was built to be a these venues? concert hall so the acoustics would be good for Opinions classical music concerts. -Do you feel like these I don’t feel like they’re aimed at our age group venues are aimed at though. Especially the council owned ones like your age group? St David’s hall and the New Theatre. I think it’s probably just a funding issue. 11) What music YES Welsh club, buffalo. Yes, because I’d be venues do you usually going there anyway. Convenient. go to? Would you feel more inclined to go to a classical music concert if it were to be held here? 12) What are your YES Old people, middle class, I feel like its all opinions about the stigma really audience of classical music concerts? -Age? Education? Class? -What do they wear? -Would this put you off going to classical music concerts? 13) Do you feel like YES No throwing pints or mosh pits. They don’t any particular rules, seem to have fun. etiquette or behaviour would be expected of you if you attended these concerts? Would that potentially put you off attending? 14) Would you ever YES You could definitely make it a night out, but I consider going to a don’t think I would invite people to go to a classical music concert classical music concert as there are much in a social setting? better places to go to catch up. -With a friend -On a date?

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- Why? 15) How do you usually YES Mainly online or I follow what my friends are find out about your doing. evenings out?

16) How aware would YES Fairly aware as it’s my job to do the sound for you say you are about these things but I don’t think they’re that classical music accessible. In London I know you can get last concerts taking place minute deals to go to classical music concerts. in Cardiff? My dad does it all the time, but it seems to be so expensive here. - Price? Did you know you could get £5 I didn’t know you could get tickets so cheap, I tickets for students? just assumed that it would be really expensive.

17) Have you ever YES I play lots of music instruments but not so been interested in much classical. I suppose I haven’t really been learning a classical interested in it. instrument?

18) What would YES I could put on classical FM and listen to it for 3 motivate you to attend a classical music hours and not really like anything but that concert? doesn’t mean that I don’t necessarily like - Cheap tickets? classical music, it just means that I don’t like -Friends attending or what I’ve heard. I think that if you haven’t had playing? the opportunity to grow up with it, how are you - Known Venue supposed to know what you want to listen to?’ -Learning to play and instrument? -Awareness? I think what the BBC are doing at the moment is really good – the electric proms. Getting the philharmonic for example to do a set with a contemporary artist. I think that could get more people interested in it. I also feel like more popular artists should play in venues such as st davids hall or the new theatre. Like contemporary artists play in the royal albert hall which is cool because it can get people used to it.

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Order of the Interview Discussed Comments

Welcome all the participants and YES N/A introduce the project title and myself.

Make sure the interviewee has YES N/A signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background Questions YES Emily, 22, Music - Name - Age - Studies 2) What Leisure time activities do you YES Rock Climbing, writing music, orchestra, going to take part in? the pub

3) What music do you enjoy listening Classical obviously. I like acoustic stuff too. to? 4) What do you understand by the The music composed between 1750 and 1830, term ‘Classical Music’? but also music that isn’t popular music, and that follows the western classical tradition. 5) Do you play a musical instrument? I play the flute, and most other things… 6) How often do you attend classical Most weeks. music concerts? 7) Do you attend any other type of I like theatre also. ‘arts’ shows? (Theatre, Dance, Opera?) 8) Did you grow up listening to Not really. I was just good at it. classical music? 9) Do you remember the first classical I went to the Proms when I was younger. It was music concert you went to? amazing! I attended because my auntie made me - What made you attend? but I had the best time and just remember looking at the flute thinking that I really wanted to play it.

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9) Has your experience of attending You honestly get used to it. Like everything really. classical music concerts changed I mean, you had to get used to going clubbing since you first started attending? when you were 18, and its just like that really. But entirely different….. - Developing knowledge about the music and the players? How do these affect your experience? - Feeling comfortable in the concert hall and with the other audience members? Getting to grips with the ‘concert etiquette’

10) Have there been any concerts Not really. I love most experiences. that you haven’t enjoyed? Why didn’t you enjoy the concert? 11) What do you feel about concert WMC is nice because its fresh and exciting. halls in Cardiff? Do you have a ‘They’re quite posh and grand but I suppose favourite? Why do you enjoy going to concerts there? they’re like that for a reason. For example, Hoddinot hall in the WMC was built for a rehearsal space for the BBC National Orchestra of Wales, as well as a soundtrack and television studio so the acoustics had to be good

12) How do concerts fit in with things that you do in your spare time? Specifically I feel like I get inspiration from good -Do they take priority? concerts. Because that what I want to do with my life, going to watch a really good concert can -More of a ‘Now and Again’? confirm that, and it makes me want to practice for -How important to you is attending the hours and hours. So it’s mainly because I play concerts? What do you specifically and instrument. get out of them or enjoy about them?

13) How do you choose which Mostly by who’s playing what. But a lot of the time concerts to go to? I have friends who are doing performances so I have to go to those. -Performers -Programme -Familiarity -Venue

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Order of the Interview Discussed Comments Advertising

14) How do you find out about the I feel I have to actively look. concerts? 15) What do you think about the price Its not too bad, there are lots of discounts of classical music concerts? I think £30 would be the maximum that I would -How much would you be willing to pay. pay? 16) To what extent is going to a I’d say I prefer going with friends but I guess you classical music concert a social don’t really talk that much during the concerts. activity for you? -Do you prefer going on your own or with friends? - Is it important that the audience is ‘Well Behaved?’

17) How do you suppose new Increased music education audience members could be encouraged to attend concerts within Cardiff?

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Welcome all the participants and YES N/A introduce the project title and myself.

Make sure the interviewee has YES N/A signed the consent form and copies are handed out to the attendees. Remind them about recording systems.

1) Background Questions YES Rachel, 22, Music - Name - Age - Studies 2) What Leisure time activities do you YES Bingo, dancing, orchestra, going out with friends take part in?

3) What music do you enjoy listening I like Jamie Cullum. And Disney. to? 4) What do you understand by the It’s like an umbrella term for music which isn’t term ‘Classical Music’? popular culture, jazz etc. or there’s the specific classical music time era. 5) Do you play a musical instrument? I play double bass and started when I was 9. 6) How often do you attend classical I try to attend one a month music concerts? 7) Do you attend any other type of I like theatre also because my sister does drama ‘arts’ shows? (Theatre, Dance, Opera?) 8) Did you grow up listening to Yes, mum always played it in the house classical music? 9) Do you remember the first classical music concert you went to? I remember the first classical music concert I went - What made you attend? to when I was the ‘Royal Philharmonic orchestra in London. They were doing some outreach concert. We got to go up and try all the instruments. I remember it being a really

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enjoyable experience, and I couldn’t wait to learn to play an instrument.’

9) Has your experience of attending classical music concerts changed since you first started attending? - Developing knowledge about the music and the players? How do these affect your experience? - Feeling comfortable in the concert hall and with the other audience members? Getting to grips with the ‘concert etiquette’ 10) Have there been any concerts that Not really. I love most experiences. you haven’t enjoyed? Why didn’t you enjoy the concert? 11) What do you feel about concert I like them, but halls in Cardiff? Do you have a The venue never really plays that big a part. If favourite? Why do you enjoy going to concerts there? there was a concert that I really wanted to go to then I’d still go no matter where it was held.’

12) How do concerts fit in with things Because I study music, I always seem to look at that you do in your spare time? the double bassists as that’s the instrument I play. -Do they take priority? I find myself being quite critical, whereas I may -More of a ‘Now and Again’? possibly enjoy it more if I didn’t do that. I tend to -How important to you is attending focus too much. I think that with pieces I don’t the concerts? What do you know I can take a step back a bit more but if I specifically get out of them or enjoy about them? know the pieces then I’m just thinking of the double bass part in my head.’

13) How do you choose which Usually I like to have a piece of music that I concerts to go to? know, and then maybe one that I don’t. That way I feel like I’m learning something. There are some -Performers orchestras like the LSO which are just amazing -Programme though. I know that the music they play will

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-Familiarity always be good. -Venue Advertising

14) How do you find out about the I follow some orchestras on Twitter, or I find out concerts? through friends, but I always seem to find out too late and the orchestras have already played. 15) What do you think about the price I know that there are lots of discounts especially of classical music concerts? because I go to the rwcmd -How much would you be willing to pay? 16) To what extent is going to a I like going on my own, to think about the music. classical music concert a social activity for you? -Do you prefer going on your own or with friends? - Is it important that the audience is ‘Well Behaved?’ 17) How do you suppose new I feel like they don’t even make an effort to audience members could be market it to new audiences, so they can’t really be encouraged to attend concerts within surprised can they? Cardiff?

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