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2021, Arts and the Market
Introduction to the special issue: contemporary issues in live music
ABSTRACT: Live performance is an under-researched area within contemporary music performance studies, and currently there is a very limited research context for studying the creation of a live performance of music involving a score. This paper presents preliminary artistic research on live music performance from the perspective of a classical professional pianist working within a chamber music context. It addresses two broad questions: 1) How do performers continue to learn on stage? and 2) What methods are appropriate for documenting and analyzing a live performance in terms of musical content, social significance, and as a research outcome for dissemination to the wider research community? It is argued that performers continue to learn on stage, and among other things a live performance is a site of knowledge production. The project takes the value of the live event for the performer as the starting point and thereby moves beyond the interests of merely gaining new knowledge and understanding into an area where artistic engagement with and commitment to the ‘object’ of research, i.e. the live performance, necessitates an interested and subjectively valorized positioning of the performer–researcher. The project also contributes to artistic research in music performance by motivating the emergence of a specifically performer-oriented discourse on live music-making.
Researching Live Music: Gigs, Tours, Concerts and Festivals
Live Music Studies in Perspective2022 •
Introductory chapter to the book Researching Live Music: Gigs, Tours, Concerts and Festivals. London and New York: Routledge
While the relationship between music making and technology has been, for some, a controversial topic, all musical instruments are actually inherently technological. This essay traces the evolving history of musical instrument builders harnessing electronic technologies, from the Theremin to David Tudor, the Sonic Arts Union, and more recent interactive developments, including the early work of the author. From Tav+ (Haifa), 2007.
Creative Industries Faculty School of Media Entertainment Creative Arts
Performance recordivity: Studio music in a live context2012 •
in (eds) Karen Burland & Stephanie Pitts, Coughing and Clapping: Investigating Audience Experience, Ashgate/SEMPRE Psychology of Music series.
Warts and All: Recording the Live Music Experience2014 •
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).
IASPM@Journal
Introduction: Popular Music Performance2014 •
Co-authors: Carlo Nardi, William Echard and Hillegonda C Rietveld The critical exploration of performance problematizes the theorization of music signification. The contributions in this special issue investigate performance both from the perspective of musicians and from that of their audience by stressing the role of values, norms, meaning and aesthetics in their interaction. In addition, this special issue concerns the relationship between performance and place; performance does not only happen at a place, but is also of and about a place, actively contributing to it and shaping it. Furthermore, the roles of the DJ, music producer and music performer blur in multi-media stage performance settings, while listeners are increasingly playing the role of 'prosumer', thereby actively taking part in a performance ensemble that extends from physically engaged audiences to online video appearances by fans. Editor Dr. Hillegonda C Rietveld Special Issue Editors: Dr William Echard Dr Carlo Nardi Dr Hillegonda C Rietveld Assistant Editor Dr. Elina T. Hytönen-Ng
Classical music futures: Practices of innovation
Phillips, M., & Krause, A. E. (2024). Audiences of the future – How can streamed music performance replicate the live music experience? In N. T. Smith, P. Peters, & K. Molina (Eds.), Classical music futures: Practices of innovation (pp. 333-354).2024 •
The COVID-19 pandemic introduced audiences to new ways of engaging with artistic performance in an online environment (Rendell, 2020, terms this ‘pandemic media’). Multiple performers and organisations transferred live performances into a recorded or livestreamed format. However, at present, there is little research to support decisions that organisations may make in terms of how they do this, and what they deem to be important in how they record and / or stream. There is evidence to support the value of ‘liveness’ in music performance (Tsangaris, 2020), but what is this, and can it be replicated in online environment? This chapter will outline existing research regarding concepts such as liveness in music performance. The study discussed in the chapter will also discuss research regarding the live music experience as a social one, and the vital role that sharing musical spaces plays in social bonding and group coherence. This study examines questions including what listeners perceive to be the main differences between live and livestreamed attendance at music performance, and what constitutes ‘liveness’ in such performances. Data analysis suggests that audiences may have different motivations to attend live versus livestreamed performances, with the former being associated with having fun and a good night out, and shared experience, and the latter often about using time in a meaningful way and the sound quality available in livestreamed attendance at an event. ‘Liveness’ involves not only such factors as the opportunity to share an experience and interact with other audience members and performers, but also the sense of atmosphere, immersion, sensory experiences, and being physically present. When asked about the advantages and disadvantages of attending a livestreamed performance, audience members cite factors common to both live and online experiences such as the logistics, and whether they are with other people or not. However, a thematic analysis also reveals differences in what people see as the advantages and disadvantages of attending online, such as the emotional response to a live performance, and considerations around accessibility and the impact on the environment for online experiences. There is an urgent need in the music industry to better understand what the essential elements of a live performance are, and whether these aspects need to be, and indeed can be replicated in a livestreamed event, for example in terms of level of sound quality and emotional response.
Veterinary World
Antibiotic residues and microbial contamination in pasteurized whole milk intended for human consumption2024 •
Staying Whole & Effective As a Leader During Times of Transition: A Trinitarian Framework
DMIN Staying Whole and Effective As a Leader During Times of Transition A Trinitarian Framework FINAL2022 •
Advances in Hospitality and Tourism Research (AHTR)
Imagined Futures of post-Covid-19 Tourism in Antalya2017 •
Odessa National University Herald. Economy
Analysis of the Impact of Regionalization Processes on the Interntional Trade Development2020 •
2009 •
Frontiers in Computer Science
Innovative Parkinson's Disease Patients' Motor Skills Assessment: The i-PROGNOSIS Paradigm2020 •
Universa Medicina
Multiplex nested polymerase chain reaction for Treponema pallidum using blood is more sensitive than using serum2018 •
International Journal of Multidisciplinary Research and Human Factors
Analytical Constraints of Basic Eye Movement By Modelling Users' Cognition To E-Commerce Webpages2023 •