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Investigating the Audience Experience of Contemporary Classical Music G Between the ‘Experimental’ and the ‘Accessible’: Investigating the Audience Experience of Contemporary Classical Music Gina Emerson Dissertation zur Erlangung des akademischen Grades Dr. phil. Musikwissenschaft Matrikelnummer: 13398 Erstgutachter: Prof. Dr. Reinhard Flender Zweitgutachterin: Prof. Dr. Stephanie Pitts Drittgutachter: Prof. Dr. Clemens Wöllner Die Disputation erfolgte am 15.06.2020 im Fanny-Hensel-Saal der Hochschule für Musik und Theater, Hamburg. Abstract Contemporary classical music (CCM) has long had a difficult relationship to audiences. A range of interconnected causes for this situation have been cited, from the radical musical languages adopted by composers in the 20th century, in particular post 1945, to cuts to arts funding and music education. While the ‘audience problem’ in CCM has been much discussed, there have been very few studies of audiences and their experiences with this music. This thesis presents findings from the first large- scale empirical study on the audience experience of CCM. I conducted surveys with quantitative and qualitative elements at twelve CCM concerts (N = 1428) across ten different European countries, in collaboration with the Ulysses Network. The central aim was to offer a multidimensional, interdisciplinary view of audiences’ experiences and to deliver insights relevant to music sociology (contributing to a ‘sociology of CCM’) and audience research, but also to practitioners and institutions working with CCM. The study responds to seven research questions (RQs), exploring demographics and motivations to attend CCM concerts (RQ1), tastes around and perceptions of the genre (RQ2), ratings of audience experiences in the concert hall and their relationship to audiences’ perceptions of CCM (RQ3), the aesthetic experience of works of CCM (RQ4), views on alternative concert formats (RQ5), institution-audience relationships (RQ6) and classical audiences’ views of this genre via a smaller survey of three classical music audiences (N = 670, RQ7). The results reveal that receiving newly composed music in a live setting is a complex task. The ‘social’ and the ‘aesthetic’ (Born 2010a) combine in this act and produce many factors that are in consideration while audiences are silently listening. Among other things, this study shows that the context or frame ‘around’ the music is found to be very important in the audience experience of CCM: works with significant extramusical features were received more positively or brought about an intensification of the audience experience. Musical expertise is identified as a key factor in bringing audiences to CCM and influencing their experiences with and perceptions of the genre. On the basis of the audience data, I define CCM as a ‘high art subculture’ inextricably linked to classical music, its audience negotiating the genre’s tensions around ‘experimentalism’ on the one hand and ‘accessibility’ on the other. I offer recommendations to institutions based on the findings and perspectives on the future of CCM and its relationship to audiences. Table of Contents Acknowledgements i Publications ii List of Figures iii List of Tables vii Abbreviations ix 1. Introduction 1 1.1 Defining Contemporary Classical Music (CCM) 3 1.2 Defining Audience Experience: Positioning this thesis 6 1.3 The study: aims and methods 8 1.4 The structure of this thesis 10 2. Researching Audiences 11 2.1 Being an Audience Member: Motivations and Experiences 12 2.2 Specific Aspects of Audience Experience 20 2.3 Audiences and Cultural Taste 29 3. Contemporary Classical Music and its Audiences 38 3.1 Reviewing Contemporary Classical Music Reception: Four Snapshots 38 3.2 At the Limits of Listening? Music Perception and CCM 47 3.3 Existing Research on Contemporary Classical Music Audiences 52 3.4 Institution-Audience Relationships in Contemporary Classical Music 60 3.5 Responding to the Literature 66 4. Investigating the Audience Experience of Contemporary Classical Music: Research Questions and Survey Methods 68 4.1 Participating Institutions: The Ulysses Network 69 4.2 Survey Concerts 71 4.3 Questionnaire Design 72 4.4 Pilot Study 73 4.5 Sampling, Procedure and Response Rates 74 4.6 Approaches to the Data Analysis 75 5. Demographics and Motivations to Attend 79 5.1 Demographic Overview and Frequency of Attendance Results 79 5.2 Predicting Frequency of CCM Concert Attendance 90 5.3 Motivations to Attend 93 5.4 Conclusion 106 6. Tastes and Perceptions 108 6.1 Musical Tastes 108 6.2 Perceptions of CCM 120 6.3 Conclusion 133 7. CCM in the Concert Hall: Audience Experiences in General 136 7.1 Concert Experience Ratings 136 7.2 The Concert as a Transformative Experience: Changes in views on CCM, Likelihood to Reattend, Perceptions and Satisfaction 145 7.3 Conclusion 152 8. Aesthetic Experiences with Contemporary Classical Music 153 8.1 Interests in Different Types of CCM and Contemporary Art 153 8.2 Aesthetic Experiences with CCM: Music Response Task 157 8.3 Receiving Specific Programmes and Works 167 8.4 Conclusion 175 9. Knowledge Transfer Events, Audiovisual Works and Participatory Concert Formats 178 9.1 Preferences in Live Music Format 178 9.2 Pre-performance Knowledge Transfer Events 179 9.3 Audiovisual Works 184 9.4 Participatory Formats: A Case Study 193 9.5 Conclusion 200 10. Institution-Audience Relationships and CCM Culture 204 10.1 Comparisons by Institution 204 10.2 CCM Cultures at Different Institutions 211 10.3 Conclusion 218 11. Investigating Classical Music Attendees’ Views of Contemporary Classical Music 220 11.1 Demographic Overview and Comparisons to the CCM Sample 222 11.2. Perceptions of CCM and Views on Contemporary Composers 228 11.3 Encouraging Engagement with CCM 239 11.4 Conclusion 245 12. Conclusion 248 12.1 Conclusions by Research Question 248 12.2 Overall Conclusions 252 12.3 Recommendations to Institutions 255 12.4 Limitations of the Present Study and Directions for Further Research 258 12.5 Final Thoughts: CCM for All? 260 References 262 Appendix 1: Questionnaires 281 Appendix 2: Chi Square Contingency Tables 286 Appendix 3: Motivation, Taste, Association and CCM Type by Concert 296 Appendix 4: Regression Table A4 302 Appendix 5: Surveyed Works 304 Appendix 6: Further Figures 307 Acknowledgements I would like to begin by thanking the 2098 audience members who participated in this study for engaging so willingly with my research and taking the time to fill out a questionnaire. I have been truly grateful throughout for their openness and enthusiasm, which comes through across these findings. This research would not have been possible without the generous support of the Claussen Simon Stiftung and their Dissertation Plus programme. Thank you in particular to Dr. Regina Back for her involvement in the initiation of the project and for providing ideas along the way. It has been a privilege to work with the Ulysses Network. I am incredibly grateful to the coordinating team and the partners for setting up this unique doctoral project and for trusting me to bring it to fruition. My sincere thanks go to all the artistic directors and organising teams of the survey concerts for welcoming me to their institutions, putting up my extensive printing demands and for generously providing volunteers, translations, conversation and support. I would like to express my gratitude to my supervisors, Reinhard Flender, for conceiving of and initiating this project and for his continued guidance throughout the last three years, and Stephanie Pitts, for sharing her experiences with audience research and offering long distance feedback. Thank you to Clemens Wöllner for helpful comments and input with the analysis. And my warm thanks to friends and colleagues both in and beyond the PhD phase for tips on surviving the thesis: Thomas Hilder, Sarah Price, Stefania Donini and my fellow students in the HfMT Hamburg doctoral colloquium. Thank you to my friends in Berlin, the UK and elsewhere for keeping me sane and for providing kind, motivating words. Thank you to the artists whose music got me through typing up thousands of questionnaires and hours of data analysis and writing, from Sudan Archives to Steve Reich, Tirzah to Tegan and Sara. And finally, thank you to my family; to Lena, Mum and Dad, Ann and Simon, Shaun and Marie Claire and the Daves as well as to Sabine, Dirk, Johanna and Clara, for their love, support and unwavering belief that I would get it finished. i Publications Peer-Reviewed Journal Articles Emerson, G., & Egermann, H. (2018). Exploring the Motivations for Building New Digital Musical Instruments. Musicae Scientiae. 24(3), 313-329. Emerson, G., & Egermann, H. (2018). Gesture-Sound Causality from the Audience’s Perspective: Investigating the Influence of Mapping Perceptibility on the Aesthetic Perception of New Digital Musical Instruments. Psychology of Aesthetics, Creativity, and the Arts, 12(1), 96-109. Book Chapters Emerson, G. & Egermann, H. (2017). Mapping, Causality and the Perception of Instrumentality: Theoretical and Empirical Approaches to the Audience’s Experience of Digital Musical Instruments. In Bovermann, T., de Campo, A., Egermann, H., Hardjowirogo, S-I. & Weinzierl, S. (Eds.). Musical Instrument Identities in the 21st Century: Identities, Configurations, Practices. Springer: Heidelberg. Presentations and Peer-Reviewed Conference Abstracts Emerson, G. (2019). Between the ‘Experimental’ and the ‘Accessible’: Audience Diversity and Experiences with Contemporary Classical Music. GRiNM Network Conference. Zurich, 14th-16th November 2019. Emerson, G. (2019). Receiving
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