Audiences for Classical Music

古典音乐的听众

• 批准号: AH/W003147/1
• 负责人: Sarah Price
• 金额: $ 18.57万
• 依托单位: University of Liverpool
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FW003147%2F1
• 关键词: Audiences; Classical; Music

The classical music industry in the UK currently struggles to attract younger and diverse audiences, as attenders of classical concerts are typically white, middle-class, well-educated and older. The homogeneity of audiences is a major concern for the UK classical music sector, as is the danger that we may be witnessing a generational shift away from attendance. The need to attract the next generation of audiences, combined with increased pressure from arts funders to demonstrate that organisations reach their local community, mean that classical music organisations are exploring new ways of presenting concerts. Understanding how and why audiences do (or do not) attend classical music performances is key to developing successful new initiatives.This fellowship will contribute new knowledge of classical music audiences, as well as synthesising existing literature in a way that is accessible to both researchers and arts professionals. Three studies will be carried out exploring sites in which classical music appears to attract a wider audience than traditional concerts: (1) amateur classical music performances, (2) concerts in alternative venues such as pubs, warehouses and the outdoors, and (3) online classical music streaming and concerts. These studies will investigate the extent to which these three settings attract a different audiences to professional classical music performances in concert halls, exploring audiences' decisions to attend, their experiences, and the ways in which these settings may bypass some of the misgivings audiences have towards traditional concerts. This fellowship will target a large gap in existing classical music audience research, which has tended to focus on the extremes of engagement (highly-engaged audiences and non-attenders), collecting exploratory, qualitative accounts of attendance to open up new avenues for future research. This fellowship will also include innovative forms of collaboration with stakeholders from the classical music industry. As in my previous projects, I will develop relationships with classical music organisations and gather feedback on the study design and interpretation of findings to ensure relevance to current challenges and opportunities within the sector. I will also continue my successful model of collaborating with partners to recruit participants from their audiences, feeding back insight into their specific audiences through short summaries of survey responses from their events to ensure a mutually beneficial partnership. I will extend my networks by connecting with stakeholders in larger national bodies such as the Association of British Orchestras, inviting them to form part of the advisory board to steer the direction of the project and advocate for the project in their networks. Finally, a programme of activity designed to open up the research to the wider arts community will include a sector handbook, research film and series of online talks will help to communicate key findings to an international audience of arts managers, enabling classical music programmers, concerts organisers, and arts marketers to make deeper connections with new and existing audiences. Through this fellowship, I will bring together classical music audience research as a coherent field of study. I will produce a short-form monograph that consolidates existing literature from disparate fields as well as showcasing findings from the three new studies. Designed to be the 'go to' book for an introduction to this emerging field, the monograph will make research accessible to arts workers and academics and set the agenda for its future.

英国的古典音乐产业目前正努力吸引年轻和多样化的观众，因为古典音乐会的出席者通常是白色、中产阶级、受过良好教育和年龄较大的人。观众的同质性是英国古典音乐界的一个主要问题，我们可能正在目睹一代人远离出席的危险。吸引下一代观众的需要，加上艺术资助者越来越大的压力，要求他们证明组织能够触及当地社区，这意味着古典音乐组织正在探索举办音乐会的新方式。了解观众如何以及为什么参加（或不参加）古典音乐表演是开发成功的新举措的关键。该奖学金将贡献古典音乐观众的新知识，以及以研究人员和艺术专业人士都可以访问的方式综合现有文献。将进行三项研究，探索古典音乐似乎比传统音乐会吸引更广泛观众的场所：（1）业余古典音乐表演，（2）在酒吧，仓库和户外等替代场所举行的音乐会，以及（3）在线古典音乐流媒体和音乐会。这些研究将调查这三种设置在多大程度上吸引不同的观众到音乐霍尔斯的专业古典音乐表演，探索观众的决定参加，他们的经验，以及这些设置可能绕过观众对传统音乐会的一些疑虑的方式。该奖学金将针对现有古典音乐观众研究中的一个巨大差距，该研究往往侧重于参与的极端（高度参与的观众和非出席者），收集探索性的，定性的出席记录，为未来的研究开辟新的途径。该奖学金还将包括与古典音乐行业利益相关者的创新合作形式。与我以前的项目一样，我将与古典音乐组织建立关系，并收集有关研究设计和研究结果解释的反馈，以确保与该领域当前挑战和机遇的相关性。我还将继续我与合作伙伴合作的成功模式，从其受众中招募参与者，通过对其活动的调查答复的简短摘要，反馈对特定受众的见解，以确保互利的伙伴关系。我将扩大我的网络，与更大的国家机构，如英国律师协会的利益相关者建立联系，邀请他们成为咨询委员会的一部分，以引导项目的方向，并在他们的网络中倡导该项目。最后，一项旨在向更广泛的艺术界开放研究的活动计划将包括一本部门手册，研究电影和一系列在线讲座，将有助于向国际艺术管理人员传达主要研究结果，使古典音乐节目制作人，音乐会组织者和艺术营销人员能够与新的和现有的观众建立更深的联系。通过这个奖学金，我将把古典音乐观众的研究作为一个连贯的研究领域。我将制作一本简短的专著，整合不同领域的现有文献，并展示三项新研究的发现。这本专着旨在成为介绍这一新兴领域的“入门”书籍，它将使艺术工作者和学者能够进行研究，并为其未来制定议程。