Developing and Sustaining Audience Participation for Classical Music in a Regional Australian Community: Facilitators and Constraints of Engagement
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Developing and sustaining audience participation for classical music in a regional Australian community: Facilitators and constraints of engagement Robert James Manley BMus (Hons), LMusA, AMusA, CMusA https://orcid.org/0000-0003-3678-1315 A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2020 School of Music i Abstract The purpose of this study was to examine the sociocultural and musical factors that facilitate and constrain audience engagement with classical chamber music in a regional Australian community. Much has been written about sustainability challenges for classical music institutions and practitioners in contemporary society, evidenced by an ageing demographic, declining audience numbers, and changing habits of consumption. Nevertheless, little is known about the phenomenon of chamber music both in regional Australian communities and from a place-based perspective. Adopting these foci, this study investigated the role of chamber music in engaging with community audiences and generating social capital in regional Australia. Seven areas of literature informed this study. The first considered the sociocultural and policy contexts that influence a shifting climate for classical music engagement. The second area outlined social capital as a theoretical framework that illustrates the sociocultural benefits of classical music in communities. The third focused on community chamber music from place-based and idiocultural perspectives. The fourth considered the role of music, career, and community identities as facets of classical music practice in regional Australia, and the fifth further explored shaping factors for music identity in this context. The sixth examined public stakeholder perspectives of classical music, considering literature on the audience experience. The seventh outlined alternative presentation formats that accommodate chamber music performances in community settings, including “indie classical.” This case-study investigation of the phenomenon of chamber music in a regional city drew on three strands of investigation: a case study of the culture and practices of a regional chamber music society; a case study of community stakeholder perceptions in relation to classical music; and, an autoethnographic investigation of a pilot “indie classical” presentation of chamber music. Four research questions were formulated to accommodate these perspectives: 1. What are the facilitators and constraints for sustainable engagement practices of institutional chamber music in a regional Australian community? ii 2. What are the music identities of members of a regional chamber music society and their shaping factors? 3. How do public stakeholders perceive the role of classical music in a regional Australian community? 4. What alternative presentation strategies for classical chamber music foster audience engagement in a regional community? This mixed-methods case study drew upon ethnographic and narrative approaches within a constructivist paradigm. Multiple methods of data generation were employed, including interviews, surveys, autoethnography, observation, and artefact analysis. Consistent with a naturalistic approach, reflexivity was embraced so as to acknowledge my central role as a contemporary researcher and former resident in the community under investigation. Findings from Strands 1 and 2 identified unsustainable engagement practices within a regional chamber music society that reflected place-based entrapment, dependence on volunteerism, and broader declines in civic engagement. Unsustainability was confirmed by a discrepancy between moderate classical music attendance (52%) and low awareness of local classical groups (10%) among the surveyed populace. Proportionally, younger populations (18–33 years) demonstrated much lower rates of attendance at classical concerts (27%) than older populations aged 34+ years (68%). A leading reason for non-attenders’ avoidance of classical events was “lack of interest” (40%). Such results emphasised the need for “indie classical” presentation formats that use alternative venues and cross-genre collaboration to engage audiences effectively. In a performance pilot project (Strand 3), cross-genre collaboration in an alternative venue was facilitated by musical forms of “disciplined improvisation” (Sawyer, 2004). Audience responses indicated that improvisation enhanced classical performances, increasing perceptions of interactivity and emotional engagement. This research advances knowledge in the areas of audience engagement, community music, and practitioner identities. Findings will inform developments within practice and public policy for regional arts engagement. Recommendations for practice include broadening connections with community stakeholders by diversifying place-based engagement, fostering practices that generate bridging social capital, aligning with community identity, and using alternative presentation formats, iii including musical improvisation. Recommendations for policy include fostering multi-level connections between government and practitioners to support venue diversification, institutional sustainability, and community engagement for grassroots chamber musicians. This study recommends further investigation into the phenomenon of chamber music from the perspectives of place, regionalism, and social capital. Links identified between community identity and regional arts engagement, and between alternative venues and improvisation as presentation strategies, are also posited as avenues for further research. iv Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, financial support, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my higher degree by research candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis and have sought permission from co-authors for any jointly-authored works included in the thesis. v Publications included in this thesis No publications included. Submitted manuscripts included in this thesis No manuscripts submitted for publication. Other publications during candidature Conference presentation Manley, R. (2017, April). Community and musical engagement strategies to foster sustained participation from contemporary audiences for classical music: A duo residency in [Stoneville]. Paper presented at the Translational Research in Creative Practice Symposium. University of Queensland, Australia. vi Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree No works submitted towards another degree have been included in this thesis. vii Research involving human or animal subjects This research involves human subjects. Ethical approval was obtained from the University of Queensland Human Ethics Committee on June 20, 2016. Project number: SoM-ETH16-04/RM A copy of the Approval Form is included as Appendix A. No animal subjects were involved in this research. viii Acknowledgments I would like to thank my late father, Mr Brian Manley, who held a candle to my precipitous path and ensured that I completed the PhD. I must also thank the valued members of my advisory team: Professor Margaret Barrett, Dr Mary Broughton, and Mr Patrick Murphy. My project could not have approached the finish line without your collective wisdom and academic insights. I have learned to “go hunting” and to digest the phrase: “It depends.” I am indebted to the participants in this research study, particularly my musical collaborators and members of the Chamber Music Society, who generously shared their experiences and insights. I wish to thank the following members of my family for their sustained support during the PhD process: Ms Jennifer Houtsma, Mr Egbert Houtsma, Dr Kae Lewis, and Dr Evan Lewis. I wish to thank my late grandmothers, Mrs Beatrice Manley and Ms Hendrika Houtsma-Groothuijse, for their encouragement during the early phases of my research. I must also thank my late grandfather, Mr Patrick Manley, for reminding me that I have plenty of musical bones in my body. Cheers to my “bush family” for their provision of a writing retreat, editorial assistance, meals,