Warts and All: Recording the Live Music Experience (original) (raw)

2014, in (eds) Karen Burland & Stephanie Pitts, Coughing and Clapping: Investigating Audience Experience, Ashgate/SEMPRE Psychology of Music series.

Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened. The book brings together international researchers who consider the experience of being an audience member from a range of theoretical and empirical perspectives. Whether enjoying a drink at a jazz gig, tweeting at a pop concert or suppressing a cough at a classical recital, audience experience is affected by motivation, performance quality, social atmosphere and group and personal identity. Drawing on the implications of these experiences and attitudes, the authors consider the question of what makes an audience, and argue convincingly for the practical and academic value of that question. Contents: Preface; Prelude. Part 1 Before The Event: Preparing and anticipating: Marketing live music, Daragh O’Reilly, Gretchen Larsen and Krzysztof Kubacki; Musical, social and moral dilemmas: investigating audience motivations to attend concerts, Stephanie Pitts; Safe and sound: audience experience in new venues for popular music performance, Robert Kronenburg. Part 2 During The Event: Listening and connecting: Interlude - audience members as researchers, Stephanie Pitts and Karen Burland; The value of ‘being there’: how the live experience measures quality for the audience, Jennifer Radbourne, Katya Johanson and Hilary Glow; In the heat of the moment: audience real time response to music and dance performance, Catherine J. Stevens, Roger T. Dean, Kim Vincs and Emery Schubert; Texting and tweeting at live music concerts: flow, fandom and connecting with other audiences through mobile phone technology, Lucy Bennett; Moving the gong: exploring the contexts of improvisation and composition, Karen Burland and Luke Windsor with Christophe de Bezenac, Matthew Bourne, Petter Frost Fadness and Nick Katuszonek; Context, cohesion and community: characteristics of festival audience members’ strong experiences with music, Sidsel Karlsen. Part 3 After The Event: Responding and remembering: Interlude - lasting memories of ephemeral events, Karen Burland and Stephanie Pitts; ‘The gigs I’ve gone to’: mapping memories and places of live music, Sara Cohen; Warts and all: recording the live music experience, Paul Long; Staying behind: explorations in post-performance musician-audience dialogue, Melissa Dobson and John Sloboda. Postlude; References; Index. About the Editor: Karen Burland is an Associate Professor in Music Psychology at the University of Leeds. Her published research focuses on jazz audiences and their engagement in live performances in different contexts; the environmental conditions leading to childhood musical success and the professional development of musicians during career transitions; professional and amateur musical identities; and music therapists’ use of music technology in therapeutic settings. Karen is a member of the SEMPRE committee and Reviews Editor for British Journal of Music Education. Stephanie Pitts is a Professor of Music Education at the University of Sheffield, UK and author of A Century of Change in Music Education (Ashgate, 2000), Valuing Musical Participation (Ashgate, 2005) and Chances and Choices: Exploring the Impact of Music Education (2012).