Resume af mit speciale om udvikling af koncertoplevelser gennem dialog mellem musikere og publikum

When a group of musicians have performed a concert, they are unaware of how the particular elements of the concert have affected the audience’s experience. This dissertation sets out to help musicians acquire a certain insight in how particular elements of the concert are experienced by the audience. This knowledge may help the musicians consciously and purposefully to develop future concert experiences.

A response will be developed in order to demonstrate to the musicians the perspective of the audience in their experience of the concert. A response is a dialogue between musicians and audience in which the audience convey their immediate experience of the concert to the performers, and in which the performers can ask questions to the audience in return. The purpose of the response is, as extensively as possible, to present the audience’s experience to the performers, thereby disclosing concert-developing material. The aim of the dissertation is to construct a response, which supports this visualization.

To begin with, the argument is presented, that concert experiences can only be designed with some level of uncertainty, as they are double-subjective and multi-facetted. Due to this uncertainty, focus will be placed on the realization of the concert rather than on the designing process. Instead of shaping the concert, the dissertation produces the material for the concert.

As performers generally have a desire to understand how the audiences have experienced the performance, and as the audience can offer an insight to the performers, which in theory they could never obtain on their own, the experience of the audience will be selected as foundational material for the development of the concert experience. Visualization of the experience will be actualized through dialogue, of which the property is to provide response on the concert. The dialogue will therefore be called the response.

Next, the most efficient method on how to construct the visualization of the audience’s experience will be examined. As a theoretical framework, a customized model on how to decode the habitus will be applied, serving the purpose of dealing with all aspects of the concert experience, through analysis of location, relation and experiential appreciation.

By ritualizing the event, the concert will be perceived as isolated from the external environment, thereby situating the response in the transitional phases between event and external environment. By examining the audience’s relation to performer and event respectively, it will be argued that close relations between audience and performer will weaken the spectator’s ability to provide with critical response. And that the relation between audience and event ideally must be instrumental so that the audience’s purpose with the concert is concerned with the actual experience to the greatest possible extent.

By understanding how experiences are formed, a relevant response-audience will be defined as a multi-facetted audience with the experience to decode the upcoming concert, the ability to change between cultural competence and symbolic experience, and the capability of verbalizing their experience.

Conclusively the response analysis will be collected in an executive framework based on theory concerning qualitative interviews.