Audience Study on New Music Festivals as Agorai–Their Formation and Impact on Warsaw Autumn, Festival d’Automne in Paris, and Wien Modern Since 1980 (SUF edition)

Full edition for scientific use. This data set offers access to research data gathered in a broad-reaching comparative survey of contemporary (art) music audiences carried out between September and November 2014 in the context of the research project, “New Music Festivals as Agorai – Their Formation and Impact on Warsaw Autumn, Festival d´Automne in Paris, and Wien Modern since 1980.” With over 1500 structured questionnaires returned at 14 events across five different genres (corresponding to an overall response rate of 26%), this survey offers a representative, comprehensive and international view of audiences of contemporary music for the first time. Information was gathered in the following areas of interest: the socio-demographic composition of audiences, audience lifestyle, expertise and specific behavior patterns in the context of music and contemporary (art) music, the aesthetics of contemporary (art) music, attitude and motives regarding the festival attendance, and the mediating role of the festivals. In addition, attendees’ assessments of the presented music and their evaluations of individual events were investigated. The research also focused on the examination or accentuation of differences and similarities between the audiences of the three nationalities and of the different genres (large ensemble with conductor, small ensemble/chamber music, music theater, choir/vocal concert, mixed arts/multimedia performance, performance in the context of a music mediation project). The questionnaires were accompanied by participatory observations of rehearsals and their respective performances as well as by individual guideline interviews with attendees following the performances. The study follows the concept of the “culture-oriented creative city” (A. Reckwitz, 2012/2017, Die Erfindung der Kreativität - Zum Prozess gesellschaftlicher Ästhetisierung [The Invention of Creativity - Toward the Process of Social Aestheticization]), and in particular the approach of the “creativity-dispositive” (Reckwitz, 2012/2017; M. Foucault, 1980, The Confession of the Flesh), in order to consider a broader sociocultural interdependence in contemporary (art) music and shed light on the sociocultural structure of audiences.

科研专用完整版。本数据集收录了2014年9月至11月间，于研究项目"作为公共论坛的新音乐节——1980年以来华沙之秋、巴黎秋季艺术节与维也纳现代音乐节的形成与影响"（New Music Festivals as Agorai – Their Formation and Impact on Warsaw Autumn, Festival d´Automne in Paris, and Wien Modern since 1980.）框架下开展的大范围当代（艺术）音乐（contemporary (art) music）受众比较调查所获取的科研数据。本次调查在5类不同演出类型的14场活动中回收了超过1500份结构化问卷（structured questionnaires），整体回收率（response rate）达26%，首次为当代音乐受众群体提供了具备代表性、全面性与国际性的研究视角。本次调研采集了以下维度的信息：受众的社会人口学构成（socio-demographic composition）、生活方式、音乐与当代（艺术）音乐领域的专业素养与特定行为模式、当代（艺术）音乐的美学特征、参与音乐节的态度与动机，以及音乐节的中介作用。此外，研究团队还调查了受众对展演音乐的评价与对单场活动的评分。本研究重点分析了三个艺术节所属国家的受众，以及不同演出类型：带指挥的大型乐团（large ensemble with conductor）、小型乐团/室内乐（small ensemble/chamber music）、音乐戏剧（music theater）、合唱/声乐音乐会（choir/vocal concert）、混合艺术/多媒体演出（mixed arts/multimedia performance）、音乐普及项目中的展演（performance in the context of a music mediation project）之间的受众群体差异与共性。问卷调研之外，研究团队还对彩排与对应场次的演出进行了参与式观察（participatory observations），并在演出结束后针对受众开展了提纲式个体访谈（guideline interviews）。本研究遵循雷科维茨（A. Reckwitz）2012/2017年提出的"面向文化的创意城市"理念，出自其著作《创意的发明——迈向社会审美化进程》（*Die Erfindung der Kreativität - Zum Prozess gesellschaftlicher Ästhetisierung*，英文译名为*The Invention of Creativity - Toward the Process of Social Aestheticization*），尤其采用了"创意配置（creativity-dispositive）"研究路径（Reckwitz, 2012/2017; 福柯（M. Foucault）, 1980, 《肉体的忏悔》（*The Confession of the Flesh*）），以期探析当代（艺术）音乐背后更广泛的社会文化互依关系，并阐明当代音乐受众的社会文化结构。