Coughing and Clapping: Investigating Audience Experience by Karen Burland, Stephanie Pitts

By Karen Burland, Stephanie Pitts

Coughing and Clapping: Investigating viewers adventure explores the procedures and reviews of attending dwell tune occasions from the preliminary choice to wait via to viewers responses and stories of a functionality after it has occurred. The ebook brings jointly overseas researchers who think of the adventure of being an viewers member from quite a number theoretical and empirical views. even if having fun with a drink at a jazz gig, tweeting at a pop live performance or suppressing a cough at a classical recital, viewers event is stricken by motivation, functionality caliber, social surroundings and team and private identification. Drawing at the implications of those studies and attitudes, the authors think about the query of what makes an viewers, and argue convincingly for the sensible and educational worth of that question.

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The American Marketing Association (AMA)’s definition of marketing is as follows: ‘Marketing is the activity, set of institutions, and processes for creating, communicating, delivering, and exchanging offerings that have value for customers, clients, partners, and society at large’ (AMA, 2007 [online]). There are a number of points worth teasing out in this definition. Firstly, the players or stakeholders it mentions include customers, clients, partners and society at large. This is very odd indeed, in so far as it completely fails to mention shareholders and executives as beneficiaries of the value which arises from market exchanges.

In fact, before Thomas Edison invented the gramophone in 1877, all music was live music. Throughout the twentieth century, the increasing importance of recorded music negatively affected opportunities for musicians to perform live (Frith, 2007). The more recent influence of the internet has resulted in a major shift in favour of live performance, largely for reasons of economics. For many musicians, live concerts have become the main source of income (Connolly and Krueger, 2006); and a broad range of ancillary products, such as t-shirts and programmes, can also be sold to fans at live performances, thereby generating additional revenue.

Perhaps more significantly, the new mode of presentation throws open to question the conventions of live music listening, disrupting the behavioural patterns of Christopher Small’s (1998) imagined concert hall, and prompting audience members to question why they are there – and not somewhere else – and how their interaction with the live event is meaningful to them and to those around them. This critical distance, while risking alienating an audience who become too much aware of their dissatisfaction with the event, could be a valuable tool in engaging audiences and communicating their perspectives to arts organizations – an idea also demonstrated through postconcert conversations with artists (see Dobson and Sloboda, this volume) and focus-group discussions with researchers (Dobson and Pitts, 2011).

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