2017
DOI: 10.7202/1039659ar
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Popular Music as an Interpretive Device for Creating Meaningful Visitor Experience in Music Museums

Abstract: This article looks at modes of visitor engagement in a music museum setting. As curator for a gallery and collection of European music, I am tasked with representing musical cultures in Europe according to geo-political entity, community group, and genre. I present a case study in which popular music served to connect visitors with display content by instigating interest and creating a sense of personal context for the visitor. By presenting visitors with audio-visual content that was meaningful to them I was … Show more

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Cited by 2 publications
(2 citation statements)
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“…Bruce (), in turn, demonstrates how the technological exhibits displayed by the Experience Music Project in Seattle (rebranded in 2016 to the Museum of Pop Culture) set out to endow democratic access to information. Mention must also be made of the literature expanding on the affordances in terms of the meaning making of exhibiting sound and/or music in museum exhibitions (Cortez ; Wiens ).…”
Section: Literature Reviewmentioning
confidence: 99%
“…Bruce (), in turn, demonstrates how the technological exhibits displayed by the Experience Music Project in Seattle (rebranded in 2016 to the Museum of Pop Culture) set out to endow democratic access to information. Mention must also be made of the literature expanding on the affordances in terms of the meaning making of exhibiting sound and/or music in museum exhibitions (Cortez ; Wiens ).…”
Section: Literature Reviewmentioning
confidence: 99%
“…At this writing, with a few exceptions (Angliss ; Bubaris ; Cox ; de Visscher ) the concept of sound in museums has often been discussed though literature in case studies or thought pieces, often within editions that bring all senses into conversation (Binter ; Levent and Pascual‐Leone ; Monti and Keene ) or that address one node of museum practice such as curatorial, design or specific musical genres (Baker, Istvandity and Nowak ; Celant ; Kelly ; Leonard ; Wiens ; Zisiou ). In some cases, such as Constance Classen’s promisingly titled The Museum of the Senses (see Shih book review in this issue), sound is altogether dismissed, with exclusive accents placed on other non‐visual senses such as touch or smell.…”
mentioning
confidence: 99%