Contemporary art music and its audiences: Age, gender, and social class profile

Grebosz‐Haring, Katarzyna; Weichbold, Martin

doi:10.1177/1029864918774082

Cited by 17 publications

(11 citation statements)

References 34 publications

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“…Similar to other music genres, schema-driven processes involving LTM draws on specific domains of experience. Several studies show how greater familiarity and competency favor an informed engagement: the typical public for CAM today is a sort of 'new omnivore' group made up of well-educated higher-status individuals whose likings and backgrounds embrace a broad set of musical practices (Grebosz-Haring & Weichbold, 2020). Trained listeners show a greater ability to discern instrumentation and deal with these uncommon sonic constructions, thus favoring mnemonic abilities (Wanke, 2019).…”

Section: A Memory Sabotage or A New Engagementmentioning

confidence: 99%

“…experimental music practices. This is an impartial term that takes the place of other common terms such as 'new music', 'contemporary and experimental music', or 'avant-garde music' (Grebosz-Haring & Weichbold, 2020). 2.…”

Section: Peer Reviewmentioning

confidence: 99%

“…While the appreciation of this kind of music still largely follows general mechanisms that are dependent on familiarity and background (Bourdieu, 1979;Grebosz-Haring & Weichbold, 2020;Menger, 2001), our aim here is to discuss how these genres of music escape conventional forms of memorization and to examine the impact of this music on the most essential areas of our perception, exploring new perceptual pathways that these genres engage.…”

Section: Introductionmentioning

confidence: 99%

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Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music

Wanke¹,

Santarcangelo²

2021

Music & Science

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This paper enquires into the nature of the connections between memory and certain genres of contemporary art music whose unique features rely particularly on our early mnemonic processes. Specific sound configurations of this music are often associated, during listening, with visual and tactile sensorial qualities and with abstract geometries. They are perceived fundamentally as the results of acoustic-physical forces and energies and are organized according to Gestalt and kinesthetic principles. This kind of music calls for a specific listening attitude, which we define as the vertical stance, and seems particularly apt to respond to mechanisms of the working memory where echoic, short- and long-term memories assume a central role. In this vertical stance, memory is involved in the mental construction (segregation, storage, and prediction) of the Gestalt configurations of this music within a perceptual domain that crucially has no spatial connection to the external world. In tying in neurophysiological and psychological research with musicological theories, we discuss the perceptual approach to these music practices in the light of the philosophical concept of the ‘No-Space world’ as conceived by the philosopher Peter Strawson. We propose that – under certain conditions – memory may be the realm of the purely spectro-temporal features of music. The sound configurations of this music in particular are part of an internal-external perceptual framework, being decoded in the conceptual space of perception and able to elicit high-order recollections typical of an embodied engagement with the external world.

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Section: A Memory Sabotage or A New Engagementmentioning

confidence: 99%

Section: Peer Reviewmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music

Wanke¹,

Santarcangelo²

2021

Music & Science

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“…These intermediaries (such as Rolling Stone magazine in the United States or the review section of The Guardian newspaper in the United Kingdom) have the power to ascribe legitimacy to different forms of popular culture, using a mixture of both traditional highbrow criteria and new popular aesthetic criteria (Hesmondhalgh, 2006; van Venrooij & Schmutz, 2010). Furthermore, most cultural institutions currently wish to avoid being associated with the elitist connotation of highbrow culture and tend to include new formats and elements of popular culture in their programming (Grebosz-Haring & Weichbold, 2018). These evolutions have added a considerable amount of complexity to the musical field and since then, many scholars have formulated fundamental critiques of the simple dichotomy between highbrow (elite) and lowbrow (mass) culture (DiMaggio, 1977; Goldberg, 2011; Lizardo & Skiles, 2008; Martin, 1979).…”

Section: Theorymentioning

confidence: 99%

Cultural logics and modes of consumption: Unraveling the multiplicity of symbolic distinctions among concert audiences

Willekens

Daenekindt

2020

Musicae Scientiae

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In this study, we examined how audiences for different types of concerts structure their musical preferences according to specific cultural logics and how this relates to the motives for going to the concert. We used large-scale audience data collected at 73 concerts in Belgium ( n = 1594). Using Correlational Class Analysis, we inductively uncovered four different cultural logics: omnivore vs. disinterested; highbrow vs. lowbrow; acoustic vs. electric; and anything but/with distortion. Accordingly, besides the well-documented oppositions between highbrow and lowbrow, and between omnivorousness and univorousness, we found two other cultural logics among concert audiences. In subsequent analyses, we related these cultural logics to concert genre (e.g., classical and electronic) and mode of consuming concerts (e.g., music-centered and entertainment-centered). We demonstrate that mode of consumption is associated with both concert genre and the cultural logic to which one adheres.

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“…Because of that, it gave rise to different perceptions among community members regarding the staging of Reak artistic creations (Liu, 2021;Suhaimi, 2020). Based on the two public perceptions above, the author is interested in studying more about this artistic creation (Ding, 2021;Grebosz-Haring, 2020;Hendricks, 2021;Koch, 2020;Maritato, 2021).…”

Section: Introductionmentioning

confidence: 99%

Community Perception on The Performance of Reak Art Creations

Maulandari¹

2023

Socio-Politica

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This study aims to determine the maintenance pattern of Reak artistic creations and the factors behind different community perceptions in Bumi Langgeng Housing, Cimekar Village, Cileunyi District, Bandung Regency, because it is in line with the times. The pattern of maintenance of Reak art creations has changed, as well as changes in lifestyle, increased activity, and ignorance have caused the community to have different perceptions of the staging of Reak art creations. The method used in this research is the descriptive method. Where data was collected through observation and in-depth interviews with community leaders in Bumi Langgeng housing with the technique of determining informants through purposive sampling, namely a sampling technique with certain considerations, the method of taking information was based on informants who knew Reak artistic creations and community leaders in Bumi Langgeng Housing. The research results show that along with the times, Reak art creations in Cimekar Village have started to experience obstacles in their development. In addition, there are two different perceptions of the staging of Reak art creations, namely negative and positive perceptions. Negative perceptions caused by the presence of migrants in Cimekar Village, especially in Bumi Langgeng housing, lifestyle changes and increased activity, and the growing sense of boredom towards Reak art creations that are felt by the community members, so that this allows them not to participate in preserving the creations. Reak art. Positive perceptions caused by people who love, uphold cultural values and understand Reak artistic creations.

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Contemporary art music and its audiences: Age, gender, and social class profile

Cited by 17 publications

References 34 publications

Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music

Memory as the Aspatial Domain for the Perception of Certain Genres of Contemporary Art Music

Cultural logics and modes of consumption: Unraveling the multiplicity of symbolic distinctions among concert audiences

Community Perception on The Performance of Reak Art Creations

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