The interview study provided preliminary insight into musicians' and novices'
conceptions of, and attitudes towards, programs. Future studies should consider using a
larger sample, to increase the applicability of findings. Areas to investigate in
interviews include previously encountered programs which left an impact on readers,
how readers navigate programs, and how information can interfere with experiences.
The listening study found a significant positive effect of narrative programs on
understanding. Programs typically contain a range of information, however, including
those identified by participants in this thesis, such as composers' and performers'
backgrounds, the context of compositions, and pragmatic details. Programs are also
performers' abilities. These types of program content, and their assumed positive
effects, require further investigation.
The listening study was conducted in environments which do not reflect actual concert
experiences. Participants heard excerpts of recordings in quiet rooms; audiences at live
concerts, however, are subject to multiple influences during performances, including
visual, mood, and social stimuli. How these will interact with programs, and whether
such interactions will positively or negatively affect listeners' experiences, can only be
investigated by studies larger in scale, featuring live music audiences.
How information is presented to audiences should be a subject of future research. This
thesis identified that program readers have different information preferences. Regular
concertgoers' interests are not identical to newcomers', and variance also exists between
individuals in each of these groups. Information in typical programs can also be difficult
to digest and retain. Finally, interview results indicate alternative methods of presenting
program content, such as pre-concert lectures, or spoken introductions by performers,
are popular with audiences, and may be superior to printed programs in certain areas.
Future research should evaluate ways of more clearly and effectively communicating
useful, appreciated information to audiences, to maximise the enhancement of their
experiences.
Investigations of programs should continue to study both regular concertgoers, and
those new to Western art music. This helps increase understanding of the different needs
With such an approach, we improve our ability to attract new audiences, retain existing
ones, and provide listeners with enjoyable, satisfying musical encounters.
6.3 Conclusion
This thesis, through its investigation into programs, and the experiences of musicians
and music novices, arrives at the following conclusions:
1. Programs are popular with both musician and music novice audiences.
Performers should expect demand for programs, and prepare accordingly.
2. Programs serve a variety of purposes. They provide readers with names of
pieces, composers, and performers, inform them of extra-musical references or
influences, and guide listeners towards interpretive responses. They facilitate
engagement with composers and performers, and help readers orient themselves
within performances. Particularly for inexperienced listeners, programs assist
with validating responses to music, and may reduce anxieties associated with
these listeners' unfamiliarity.
3. Narrative programs positively affect readers' understanding of music. Other
effects of programs, such as those mentioned by participants in the interview
study, require further research.
4. We require new approaches to the presentation of information in music
performances. In light of the variety of informational preferences observed in
these studies, feedback from participants concerning drawbacks of traditional
programs, and enthusiasm for program alternatives, how we convey information
Programs assist with understanding and emotional engagement. They are popular with
audiences, regardless of listening experience. They are also appreciated for guidance,
direction, assurance, and orientation. However, programs have received little attention
from researchers, and are sometimes entirely absent from musical performances
(Bennett & Ginsborg, 2017). Given their potential to impact multiple aspects of
experience, and the unanimous demand for them expressed by participants, programs
warrant further research, and more attention in general from musicians. Understanding
the effects of programs, exploring the informational needs of listeners, and investigating
more effective ways of communicating information empower musicians to deliver more
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