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））与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）的互补观点的研究机构之间建立的成功的跨学科合作伙伴关系的基础上。它还建立在PI作为研究员（ESRC: RES-331-27-0065）和PI与提议的合作伙伴之一红音符合奏团（Red Note Ensemble）进行的听众发展研究（ESRC: RES-187-24-0014）的成功资助ESRC音乐节研究的记录之上。PI在组织研究和创意产业方面的背景和方法为该领域带来了新的视角；这与RCS的“音乐内幕”CI相结合，RCS的机构研究和知识交流活动以音乐实践为中心，形成了一个不同寻常的互补知识库，我们希望这将增加文化价值项目的框架，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部门和艺术形式中复制。我们将采用久经考验的创新方法，对Red Note和Psappha当代音乐合奏进行案例研究。Red Note是苏格兰的当代乐团，Psappha是曼彻斯特的新乐团。这些乐团在音乐风格上有相似之处，但听众、场地、音乐家和管理团队都不同。这将说明我们的方法可以被复制，它们将产生理论和实证见解，可以增强我们对内在文化价值的理解。我们的研究方法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，特别是与文化价值有关的价值观。我们提出了一种探索这种复杂性的创新方式，那就是通过品味创造。品味创造是一种情境活动，它依赖于学习和了解如何评估一种实践的具体表现（Gherardi, 2009）。通过这种方式，音乐可以通过研究其创作，表演，交流以及享受的社会和组织实践来理解；这些都是音乐练习。品味在不同的实践中形成和塑造，并通过协商和反射率来提炼，以表达对它的审美判断（Gheradi, 2009）。例如，从音乐中获得乐趣是一种由各自实践社区支持的依恋形式，这些社区已经开发了词汇和特定的品味和价值标准，以便交流，分享和完善这些实践的实施方式。这项研究将包括在不同的音乐从业者群体中探索这种品味创造的行为。我们的方法和结果可以明确地为一个框架做出贡献，首先，通过从不同的角度发展词汇和味觉制作概念，其次，用于评估不同形式的味觉和过程的方法将有助于实现价值评估。该方法探讨了在表演之前，期间和之后的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文化体验。这种看待经验的方式刻意地从不同的角度出发，吸收不同的学科。没有单一的经验，因此没有单一的感知价值，因此需要一种能够捕捉丰富性和多样性并产生集中见解的方法论方法。Gherardi, S (2009) Practice？这是个品位问题！管理学习，40(5):535- 555。

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.