In Defence of the Familiar: Understanding Conservatism in Concert Selection Amongst Classical Music Audiences

Abstract

Since the establishment of a classical music canon in the 19th century, classical music culture has historically been focused on a stable set of masterpieces by genius composers predominantly from the classical and romantic periods. A small number of composers continue to dominate programming to this day. Many classical music organisations are keen to programme music beyond this narrow repertoire and to showcase new or unfamiliar works. The need to sell tickets, however, is often an obstacle, with organisations far more confident in the ability of big hits to attract large crowds. This article explores the experiences and opinions of classical music concertgoers in relation to familiar and unfamiliar music, providing a number of reasons as to why audiences may choose to hear well-known pieces rather than new works. This paper reports on one strand of a qualitative study with 42 individuals who booked tickets for one of two concert series consisting of core and populist repertoire, respectively. Semi-structured interviews were carried out to explore the reasons for their choices and their experiences of attending live concerts. These interviews showed that most participants did indeed have a clear preference for hearing music that was familiar to them, and only frequent attenders relished the challenge of unknown music. Participants felt that listening to familiar music was usually a more enjoyable experience than hearing something new. They rarely spoke of becoming bored with over-familiar music, perhaps because the live concert experience brings a sense of freshness to even the most familiar work.

Audience’s Perceived Expectancy and Authenticity of Classical Music Performance by Digital Musical Instrument Mobile Apps

“…The enjoyment of listening to classical music and the frequency of attending concerts were strongly and positively correlated with participants' perceived expectancy and authenticity, and these correlations were statistically significant. These results are consistent with previous studies indicating that frequent classical music concert attendees tend to appreciate and embrace challenges and innovations with unconventional aesthetic forms (Price, 2022;Roose, 2008). In this study, the innovation lies in the incorporation of DMI mobile apps in classical music performance.…”

“…Prior research has indicated that listening to familiar music evokes stronger emotional engagement compared to unfamiliar music (Pereira et al, 2011;Price, 2022). While the participants of this study gave positive ratings regarding the emotional engagement of classical music concerts performed by DMI mobile ensembles, their familiarity with the repertoire, especially the popular classical tunes, might have contributed to the emotional response.…”

7. How Professional Musicians Can Better Connect to Audiences for Live Classical Music

“…Classical concert promoters and programme makers are often reluctant to introduce new or unfamiliar music into concert programmes (Price, 2022). This is because core classical audiences are believed to prefer 'tried-and-tested' familiar works.…”

Research on the Influence of Cultural Confidence on the Diffusion and Exchange of Music Culture in the Central Plains-Based on Multiple Logistic Analysis

“…With the increasing trend of global cultural diversification, it is particularly important to protect and pass on music culture with regional characteristics. Adhering to the principle of letting a hundred flowers blossom and a hundred schools of thought contend, it is necessary to pay attention to the creative transformation and innovative development of culture and art and to enhance the status of the mainstream culture dominated by core values in the new era [1][2].…”

“…Na Gu. Applied Mathematics and Nonlinear Sciences, 9(1) (2024)[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17] …”