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11 – 20 of over 1000

Abstract

Details

Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss
Type: Book
ISBN: 978-1-78756-925-6

Abstract

Details

Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss
Type: Book
ISBN: 978-1-78756-925-6

Article
Publication date: 17 May 2013

Stephanie E. Pitts and Karen Burland

This article seeks to understand how audience members at a live jazz event react to one another, to the listening venue, and to the performance. It considers the extent to which…

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Abstract

Purpose

This article seeks to understand how audience members at a live jazz event react to one another, to the listening venue, and to the performance. It considers the extent to which being an audience member is a social experience, as well as a personal and musical one, and investigates the distinctive qualities of listening to live jazz in a range of venues.

Design/methodology/approach

The research draws on evidence from nearly 800 jazz listeners, surveyed at the Edinburgh Jazz and Blues Festival and in The Spin jazz club, Oxford. Questionnaires, diaries and interviews were used to understand the experiences of listening for a wide range of audience members, and were analysed using NVivo.

Findings

The findings illustrate how listening to live jazz has a strongly social element, whereby listeners derive pleasure from attending with others or meeting like‐minded enthusiasts in the audience, and welcome opportunities for conversation and relaxation within venues that help to facilitate this. Within this social context, live listening is for some audience members an intense, sometimes draining experience; while for others it offers a source of relaxation and absorption, through the opportunity to focus on good playing and preferred repertoire. Live listening is therefore both an individual and a social act, with unpredictable risks and pleasures attached to both elements, and varying between listeners, venues and occasions.

Research limitations/implications

There is potential for this research to be replicated in a wider range of jazz venues, and for these findings to be compared with audiences of other music genres, particularly pop and classical, where differences in expectations and behaviour will be evident.

Practical implications

The authors demonstrate how existing audience members are a vast source of knowledge about how a live jazz gig works, and how the appeal of such events could be nurtured amongst potential new audiences. They show the value of qualitative investigations of audience experience, and of the process of research and reflection in itself can be a source of audience development and engagement.

Originality/value

This paper makes a contribution to the literature on audience engagement, both through the substantial sample size and through the consideration of individual and social experiences of listening. It will have value to researchers in music psychology, arts marketing and related disciplines, as well as being a useful source of information and strategy for arts promoters.

Details

Arts Marketing: An International Journal, vol. 3 no. 1
Type: Research Article
ISSN: 2044-2084

Keywords

Book part
Publication date: 19 October 2020

Horomona Horo and Jeremy Mayall

When musicians collaborate, a conversation takes place. They may not necessarily come from the same background, or even speak the same language, but when they listen to each other…

Abstract

When musicians collaborate, a conversation takes place. They may not necessarily come from the same background, or even speak the same language, but when they listen to each other play and musically engage with a mutual respect and openness, a true improvisational and conversational collaborative flow is created. No single person controls how the work develops: the direction of the flow of this musical output is collectively determined through all the participants’ contributions. This creative process sees the participants as sonic explorers navigating and traversing the contours of a cross-cultural landscape, allowing unique moments of sound to be the catalyst for the (re)creation of new fusions and possible future collaborations. Presented as a discussion between composer Dr Jeremy Mayall and renowned taonga puoro practitioner Horomona Horo, this chapter looks at how their collaborative creative practice-based research projects have developed and reveal the sorts of musical interactions that transpire when performer/composers from both Western contemporary and Indigenous music backgrounds are given the opportunity to spend time together and collaborate. In this chapter, Horo and Mayall reflect on the processes that have informed their collaborations since meeting in 2008, and how their ongoing practice has developed through a range of projects that serve as case studies and discussion points throughout. This chapter aims to explore the centrality of relationship building and the impact that this kind of cross-cultural engagement can have on the ways in which musicians from different backgrounds can thrive.

Details

Indigenous Research Ethics: Claiming Research Sovereignty Beyond Deficit and the Colonial Legacy
Type: Book
ISBN: 978-1-78769-390-6

Keywords

Article
Publication date: 1 September 2006

Michael Humphreys

The purpose of this paper is to explore some of the problems of teaching qualitative research methods to large culturally‐mixed groups of postgraduate business school students.

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Abstract

Purpose

The purpose of this paper is to explore some of the problems of teaching qualitative research methods to large culturally‐mixed groups of postgraduate business school students.

Design/methodology/approach

After a consideration of some current relevant pedagogical issues the author presents an autoethnographic account of his own parallel experiences of teaching qualitative research methods and learning to play a musical instrument. Emotional aspects of teaching and learning are highlighted in an analysis of the dynamic interaction between the two activities. This is presented as an example of how the “use of learning stories” can increase sensitivity to the anxieties of students.

Findings

Finds that the core of the argument lies in the value of self‐reflexivity to the business school teacher and that looking inward at personal learning experiences is invaluable for informing current and future teaching practice. Recent learning experiences seem to have the most potential and learning something that is found difficult may be the richest source of empathy and insight.

Practical implications

It is argued that reflexive analysis by research‐methods lecturers of their own learning experiences can develop synergies which would not only improve the effectiveness of their teaching but also enrich the learning experience of their students.

Originality/value

The paper is an attempt to generate some original ideas about teaching research methods in business schools via a mix of autoethnography and music. The core of the argument lies in the value of self‐reflexivity to the business school teacher.

Details

Qualitative Research in Organizations and Management: An International Journal, vol. 1 no. 3
Type: Research Article
ISSN: 1746-5648

Keywords

Abstract

Details

Black Metal, Trauma, Subjectivity and Sound: Screaming the Abyss
Type: Book
ISBN: 978-1-78756-925-6

Book part
Publication date: 24 November 2014

David Gilling

Few organisations exhibit the importance of physicality in leadership as explicitly as the symphony orchestra. While usually attributed to the direction of the conductor my own…

Abstract

Few organisations exhibit the importance of physicality in leadership as explicitly as the symphony orchestra. While usually attributed to the direction of the conductor my own experience suggests that leading in orchestral performance is grounded in physical relations between individuals and among instrumental groups across the orchestra as much as in the interaction between musicians and maestro. In order to further interrogate this experience while enhancing our understanding of onstage relations among orchestral musicians, I recently undertook research that employed an autoethnographic methodology underpinned by the phenomenology of Merleau-Ponty (2002, 2004) and the sense-making ideas of Weick (1995, 2001a). Using this method while drawing on ideas such as kinaesthetic empathy (Pallaro, 1995; Parviainen, 2002), the picture presented in what follows is one of leadership embedded in physical interaction among colleagues.

This interaction is, I suggest, based on sense-making and sense-giving activity that occurs in a ‘kinaesthetic loop’ that draws on and is generated by auditory, visual and gestural information given and received by individual musicians. This activity in turn mediates the acoustic space between musicians and thus, ultimately, determines how leadership and coordination in the orchestra are constituted. Rather than being disembodied products of dictatorial direction dispensed through the orchestra’s hierarchy, orchestral performance and leadership emerge in this more nuanced account as co-creative processes in which all the musicians on stage share responsibility.

Details

The Physicality of Leadership: Gesture, Entanglement, Taboo, Possibilities
Type: Book
ISBN: 978-1-78441-289-0

Keywords

Book part
Publication date: 30 September 2010

Michael J. Walsh

The car is a room stimulating particular senses and emotions.(Urry, 2007, p. 127)This chapter explores practices associated with musical listening within the car. It embraces…

Abstract

The car is a room stimulating particular senses and emotions.(Urry, 2007, p. 127)

This chapter explores practices associated with musical listening within the car. It embraces DeNora's approach to the social study of music in conjunction with symbolic interactionism. I focus on musical elements partnered with social interaction that commonly occur in automobile commuter situations. Music is deployed as an environmental feature of automobile commuting that transforms the physical space of the car into a symbolic social space where those that occupy this context are afforded experiences of comfort and control. I conclude with a discussion of perceptions of public and private dimensions of car travel.

Details

Studies in Symbolic Interaction
Type: Book
ISBN: 978-0-85724-361-4

Article
Publication date: 16 October 2019

Kelly Mancini Becker

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite…

Abstract

Purpose

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

Design/methodology/approach

The author used a qualitative and arts-based research approach.

Findings

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Research limitations/implications

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

Originality/value

There is sparse research on the use of musicking in the interview process of qualitative research.

Details

Qualitative Research Journal, vol. 19 no. 4
Type: Research Article
ISSN: 1443-9883

Keywords

Open Access
Article
Publication date: 2 May 2017

Stephanie Pitts and Jonathan Gross

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by…

4820

Abstract

Purpose

The purpose of this paper is to demonstrate the usefulness of the “audience exchange” approach for audience development and research, and to highlight the insights offered by peer-to-peer dialogue in understanding experiences of unfamiliar arts.

Design/methodology/approach

Using a case study with contemporary arts audiences, and setting this in the wider context of studies with other first-time attenders at a range of arts events, the paper explores the use of the “audience exchange” method, in which facilitated conversations after performance events allow newcomers to reflect upon and deepen their first-time encounters with live arts.

Findings

The study demonstrates the way in which conversations about arts events can enrich audience experience, and shows how participants use exploratory and emotional language to articulate their understanding of unfamiliar arts events. Peer-to-peer learning occurs through these conversations, in ways that could be further supported by arts organisations as a valuable tool for audience development. The audience exchange discussions also reveal the varieties of participation from “drifting” to full attention that are all part of audience engagement.

Research limitations/implications

This is a small-scale, qualitative study, and the method has potential to be tested in future studies with a greater variety of participants (e.g. younger or more ethnically diverse groups).

Practical implications

Use of the audience exchange for enriching experiences of first-time attendance could be adopted by arts organisations as a regular part of their audience engagement. Greater understanding of how new audience members draw on prior cultural experiences in finding the language to articulate their first impressions of an unfamiliar arts event could be valuable for targeted marketing and increasing accessibility.

Originality/value

The originality of this study lies in its elaboration of the audience exchange method, and its focus on the language and peer-to-peer learning evident in the facilitated post-performance discussions.

Details

Arts and the Market, vol. 7 no. 1
Type: Research Article
ISSN: 2056-4945

Keywords

11 – 20 of over 1000