researching musical participation dr stephanie pitts senior lecturer, department of music
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Researching musical participation
Dr Stephanie PittsSenior Lecturer, Department of Music
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I’m interested in musical participation: how people become involved in music-making, and what it means to them.
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University music students in performance
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My research uses a range of methods to investigate people’s experiences of musical participation and its impact on their lives
•Questionnaires•Interviews •Observation•Diaries
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I’ve found that making music is valuable to people for a range of reasons:
As a source of confirmation and confidence
As a chance to acquire or develop skills
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As an opportunity to perform with others
For social interaction and friendships
As a way of enhancing everyday life
As a way of escaping from everyday life
As a source of spiritual fulfilment
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Rehearsing
Performing
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I’m also interested in the audience experience: who attends concerts and why?
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As an audience gathers for a chamber music concert,their motivations for being there might be assumed to be largely musical: a desire to hear a particular repertory or certain performers, to affirm or challenge existing musical tastes, and to critique, enjoy, or maybe learn from the interpretation of familiar or previously unheard music.
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Some listeners will arrive alone, sitting apparently engrossed in reading their programmes as they wait for the concert to start - temperament and habit dictating whether they bring a book to avoid the need to meet strangers, or otherwise choose to engage in some people-watching or to strike up a conversation with a fellow listener.
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Other audience members arrive with friends, or greet acquaintances across the auditorium, and find their allocated seat or select one that places them a comfortable distance from the performers, preferably with a good view, some legroom, and easy access to the area used for interval refreshments.
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And so the musical reasons for attending are intertwined with personal and social considerations: for different people in the concert hall this might be a sociable night out, a chance to escape from worldly pressures, an evening laden with obligation or sense of duty, or an impulsive decision to fill a few hours in which the television schedules looked unappealing.
Stephanie Pitts and Christopher Spencer, Loyalty and longevity in audience listening: investigating experiences of attendance at a chamber music festival (Music and
Letters, 2007)
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I’ve collaborated on studies with audiences for classical music and jazz...
...with funding from the British Academy, and the Universities of Leeds and Sheffield
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Classical and jazz audiences are both influenced by concert venues, preferring familiar, intimate spaces in which they can feel fully involved in the performance.
External view of The Lot, Grassmarket – a jazz venue in
Edinburgh
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There’s a concern that audiences for jazz and classical music tend to be over-55, affluent, white, and professional or retired
How old are you?Over 7666-7556-6546-5536-4526-3518-25Under 17
Count
300
200
100
0
Audience ages at the Edinburgh Jazz and Blues Festival, 2007
How can live music be made appealing to a more diverse audience?
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Our work is being funded by a £3000 Innovation Voucher from Yorkshire Forward and Business Link
I’m currently working with Music in the Round to bring under-30s audiences to chamber music
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We’re distributing surveys online and at arts and leisure venues in Sheffield, asking about young adults’ leisure habits and attitudes to classical music.
We’ll then run focus groups to investigate first-time attenders’ experiences of Music in the Round
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• For further information about any of these projects, please get in touch:
• Dr Stephanie PittsDepartment of MusicUniversity of SheffieldJessop Building S3 7RD