Events
Understanding the concert experience: Implications for research and artistic practice
Open Lecture
Understanding the concert experience: Implications for research and artistic practice
May 17th, 2018 | 18H - 20H | Auditorium | Escola Superior de Educação do Politécnico do Porto
Abstract
A major context for audience research and development in classical music is an observed long-term decline in public attendance at classical music concerts. Since live performance is at the heart of classical performance training and practice, this decline presents challenges for the profession. What do audiences seek from live concert experience, and why do many classical concerts fail to provide this?
It is proposed that positive interventions are those which allow deeper and more active engagement with the musical content and process, and human contact between audience members and musicians. A flexible conceptual framework to understand these effects is proposed. This framework can guide innovations in concert practice and further research.
It is proposed that positive interventions are those which allow deeper and more active engagement with the musical content and process, and human contact between audience members and musicians. A flexible conceptual framework to understand these effects is proposed. This framework can guide innovations in concert practice and further research.
Coordination
Mestrado em Ensino de Educação Musical no Ensino Básico e CIPEM/ INET-md
Organized by
Biography
Professor John Sloboda, Guildhall School of Music & Drama, London UK Research Professor at the Guildhall School, where he directs its 'Understanding Audiences' research programme. He is Emeritus Professor at Keele and was a staff member of the School of Psychology at Keele from 1974-2008, where he was Director of its Unit for the Study of Musical Skill and Development. John is internationally known for his work on the psychology of music. He is a Fellow of the British Psychological Society and has been President of the European Society for the Cognitive Sciences of Music, and served on the editorial board of its journal Musicae Scientiae. He is a member of the Society for Education and Music Psychology Research, and was Editor-in-Chief of its journal Psychology of Music. His books include The Musical Mind. The Cognitive Psychology of Music, Exploring the Musical Mind, and Handbook of Music and Emotion (co-edited with Patrik Juslin).
