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New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts
11 references·16 citing·28 second hop
New Audiences for Classical Music: The Experiences of Non-attenders at Live Orchestral Concerts (2010)New Audiences for Classical Music: The Ex…Valuing Musical Participation (2016)Valuing Musical ParticipationWhy Classical Music Still Matters (2007)Why Classical Music Still Mat…Valuing Musical Participation (2006)Valuing Musical ParticipationMusical Personae (2006)Musical PersonaeWhat Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival (2005)What Makes an Audience? Inves…Musicking: The Meanings of Performing and Listening (2000)Musicking: The Meanings of Pe…Marketing Cultural Organisations: New Strategies for Attracting Audiences to Classical Music, Dance, Museums, Theatre and Opera (2000)Marketing Cultural Organisati…Musicking: the meanings of performing and listening (1999)Musicking: the meanings of pe…The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1993)The Imaginary Museum of Music…The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1993)The Imaginary Museum of Music…Lost in Music: Culture, Style and the Musical Event (1988)Lost in Music: Culture, Style…Classical Concert Visitor Types: Attendance Motivation, Expectation, and Experience (2025)Classical Concert Visitor Typ…Resilience of Symphony Orchestras to Challenges in the COVID-19 Era (2022)Resilience of Symphony Orches…Symphonic music in contemporary theatre (2021)Symphonic music in contempora…La Orquesta Sinfónica de Colombia: repertorio, público y legado, 1953-1973 (2020)La Orquesta Sinfónica de Colo…In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences (2020)In Defence of the Familiar: U…Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts (2020)Developing a Framework for th…Effects of applause magnitude and musical style on listeners’ evaluations of choral performances (2018)Effects of applause magnitude…Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality (2017)Music Audiences 3.0: Concert-…Audience reactions to the program notes of unfamiliar music (2017)Audience reactions to the pro…(Un)popular music and young audiences: Exploring the classical chamber music concert from the perspective of young adult listeners (2017)(Un)popular music and young a…“Audience exchange”: cultivating peer-to-peer dialogue at unfamiliar arts events (2017)“Audience exchange”: cultivat…An Orchestral Audience: Classical Music and Continued Patterns of Distinction (2014)An Orchestral Audience: Class…Listening to live jazz: an individual or social act? (2013)Listening to live jazz: an in…The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study (2012)The reciprocal relationship b…Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance (2011)Classical Cult or Learning Co…Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival (2010)Understanding Jazz Audiences:…Thinking in jazz: the infinite art of improvisation (1995)Music in Everyday Life (2000)The impact of music festival attendance on young people’s psychological and social well-being (2010)The nature and scope of festival studies (2010)The Social Construction of Reality: A Treatise in the Sociology of Knowledge. (1967)Keywords: A Vocabulary of Culture and Society (1977)Infant Intersubjectivity: Research, Theory, and Clinical Applications (2001)The role of music in adolescents' mood regulation (2006)Music as emotional self-regulation throughout adulthood (2010)The Interpretation of Cultures (2017)The Professional Dance Musician and His Audience (1951)Performance Analysis and Popular Music: A Manifesto (2004)Performing Civility (2015)(Re)Reading Pop Personae: A Transmedial Approach to Studying the Multiple Construction of Artist Identities (2019)Music and Persona: An Introduction (2019)Audience experience : measuring quality in the performing arts (2009)Motivation and Engagement Across the Academic Life Span (2009)University students’ strong experiences of music (2011)Stand-up as interaction : performance and audience in comedy venues (1997)Music and the Politics of Sound: Nationalism, Citizenship, and Auditory Space (2000)Music and Mediation: Toward a New Sociology of Music (2012)From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500 (1996)Popular music education in and for itself, and for ‘other’ music: current research in the classroom (2006)Actor-Networks in Music History: Clarifications and Critiques (2014)Class, Control, and Classical Music (2019)Music and the materialization of identities (2011)The Woman Composer, New Music and Neoliberalism (2014)On the edge of their seats: Comparing first impressions and regular attendance in arts audiences (2015)
this work references cited by second hop

References

  • 1999Musicking: the meanings of performing and listening1,526 cited
  • 2000Musicking: The Meanings of Performing and Listening1,330 cited
  • 1993The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music527 cited
  • 1993The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music329 cited
  • 2006Valuing Musical Participation170 cited
  • 2005What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival151 cited
  • 2006Musical Personae134 cited
  • 2016Valuing Musical Participation109 cited
  • 1988Lost in Music: Culture, Style and the Musical Event84 cited
  • 2007Why Classical Music Still Matters80 cited
  • 2000Marketing Cultural Organisations: New Strategies for Attracting Audiences to Classical Music, Dance, Museums, Theatre and Opera74 cited

Cited by

  • 2010Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival55 cited
  • 2012The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study55 cited
  • 2011Classical Cult or Learning Community? Exploring New Audience Members’ Social and Musical Responses to First-time Concert Attendance52 cited

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

2017
Music Audiences 3.0: Concert-Goers’ Psychological Motivations at the Dawn of Virtual Reality
50 cited
  • 2017Audience reactions to the program notes of unfamiliar music45 cited
  • 2013Listening to live jazz: an individual or social act?37 cited
  • 2020La Orquesta Sinfónica de Colombia: repertorio, público y legado, 1953-197330 cited
  • 2017(Un)popular music and young audiences: Exploring the classical chamber music concert from the perspective of young adult listeners27 cited
  • 2014An Orchestral Audience: Classical Music and Continued Patterns of Distinction16 cited
  • 2017“Audience exchange”: cultivating peer-to-peer dialogue at unfamiliar arts events13 cited
  • 2020In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences10 cited
  • 2022Resilience of Symphony Orchestras to Challenges in the COVID-19 Era10 cited
  • 2018Effects of applause magnitude and musical style on listeners’ evaluations of choral performances9 cited
  • 2020Developing a Framework for the Analysis of Program Notes Written for Contemporary Classical Music Concerts7 cited
  • 2021Symphonic music in contemporary theatre7 cited
  • 2025Classical Concert Visitor Types: Attendance Motivation, Expectation, and Experience5 cited