The enactment of cultural values and taste-making within contemporary classical music

该研究建立在组织研究和音乐实践（圣安德鲁斯大学管理学院（PI））的互补观点研究机构之间建立的成功的跨学科合作关系，以及苏格兰皇家音乐学院（RCS）的音乐“内部人士”（CI）（包括艺术研究和政策制定者合作伙伴）。它还建立在成功资助ESRC研究的音乐节的记录上，PI是研究员（ESRC：RES-331-27-0065），以及PI与拟议的合作伙伴之一Red Note Ensemble进行的观众发展研究（ESRC：RES-187-24-0014）。PI的组织研究和创意产业的背景和方法为这一领域带来了新的视角;这与RCS的“音乐内幕”CI相结合，其机构研究和知识交流活动以音乐实践为中心，形成了一个不寻常的互补知识库，我们希望将其添加到文化价值项目的框架中，并可能在其他文化和艺术领域复制。在创意苏格兰及其网络的支持下，我们将探索这些创新方法是否可以在其他文化领域和艺术形式中复制。我们将在Red Note和Psappha当代音乐合奏的案例研究中采用经过考验的创新方法。红音符是苏格兰的当代音乐合奏和Psappha是曼彻斯特的新音乐合奏。乐团在音乐风格上有相似之处，但观众、地点、音乐家和管理团队都不同。这将表明，我们的方法可以复制，他们将产生理论和经验的见解，可以提高我们的理解内在的文化价值。我们的方法论承认文化价值的复杂性。在社会中，有各种各样的价值观和与这些价值观相关的意义，特别是在文化价值方面。我们提出了一种探索这种复杂性的创新方法，那就是通过品味。品味制作是一种情境活动，它依赖于学习和知道如何评价实践的具体表现（Gherardi，2009）。通过这种方式，音乐可以通过研究其创作、表演和交流的社会和组织实践以及音乐的享受来理解;这些都是音乐实践。品味在不同的实践中塑造和塑造，并通过协商和反思来完善，以表达对它的审美判断（Gheradi，2009）。例如，从音乐中获得快乐是一种得到各自实践社区社会支持的依恋形式，这些社区已经发展了词汇和具体的品味和价值标准，以便交流、分享和改进这种实践的方式。这项研究将涉及探索不同社区的音乐从业者之间的品味制定这样的法令。我们的方法和结果显然有助于一个框架，首先是通过发展一个词汇和概念的味道制作从替代位置，其次是用于评估不同形式的味道和过程的方法将有助于实现价值评估。这种方法探讨了在表演之前、期间和之后对文化体验的感知和反思，这可能使我们能够阐明不同的从业者如何重视这种文化体验。这种看待经验的方式是有意识地从不同的角度看待经验，并吸收不同的学科。没有单一的经验，因此也没有单一的感知价值，因此需要一种方法论的方法，可以捕捉丰富性和多样性，并可以产生有针对性的见解。第50集5.6 The Dog（2009）这是品味的问题！Management Learning，40（5）：535-550.

The research builds on an established and successful interdisciplinary partnership between research organisations from the complementary standpoints of organizational studies and music practice (St Andrews University Management School (PI)), and music 'insiders' (CI) at the Royal Conservatoire of Scotland (RCS), (including artistic research and policy maker partners). It also builds on a track record of successful funded ESRC research among music festivals on which the PI was Research Fellow (ESRC: RES-331-27-0065) and on audience development research (ESRC: RES-187-24-0014) conducted by the PI with one of the proposed partners, the Red Note Ensemble. The PI's background and approach from organisational studies and creative industries brings fresh perspectives to this field; this combined with the 'music insider' CI based at the RCS whose institutional research and Knowledge Exchange activity is centered on music practice results in an unusual and complementary knowledgebase which we hope will add to the Cultural Values project's framework and may be replicated in other cultural and artistic spheres. With the support of Creative Scotland and its networks we will explore whether these innovative methods are replicable across other cultural sectors and art forms.We will employ tried and tested innovative methods in case studies of Red Note and Psappha contemporary music ensembles. Red Note is Scotland's contemporary music ensemble and Psappha is Manchester's new music ensemble. There are similarities between the ensembles in the musical styles but the audience, location, musicians and management teams are all different. This will illustrate that our methods may be replicated and they will produce theoretical and empirical insights that can enhance our understanding intrinsic cultural value. Our methodological approach acknowledges the complexity of cultural value. Within society there are diverse range of values and meanings associated with these values, especially in relation to cultural value. We propose an innovative way of exploring this complexity, and that is through taste-making. Taste-making is a situated activity that rests on learning and knowing how to appraise specific performances of a practice (Gherardi, 2009). In this way music can be understood by studying the social and organisational practices of its creation, performance and communication, as well as its enjoyment; these are all music practices. Taste shapes and is shaped within difference practices and is refined through negotiation and reflectivity, in order to express aesthetic judgments of it (Gheradi, 2009). For example gaining pleasure from music is a form of attachment socially supported by the respective communities of practice, which have developed vocabularies and specific criteria of taste and value in order to communicate, share and refine the ways in which such practices are enacted. This research will involve exploring such enactments of taste-making among the different communities of music practitioners. Our methods and outcomes could clearly contribute to a framework, firstly through the development of a vocabulary and concept of taste making from alternative positions, and secondly the methods to be used for assessing the different forms of taste and processes would help to enable an evaluation of value. The approach explores perceptions and reflections of a cultural experience before, during and after the performance, and this may allow us to elucidate how the different practitioners value that cultural experience. This way of looking at experience deliberately does so from different perspectives and draws in different disciplines. There is no singular experience and hence no singular perceived value, therefore a methodological approach that can capture the richness and diversity and that can produce focused insights is needed. Reference Gherardi, S (2009) Practice? It's a matter of taste! Management Learning, 40(5): 535-550.