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Fazıl Say and the Classical Music Stage as Informal Learning Space

Second, revised edition

Series:

Aylin Buran

Fazıl Say and the Classical Music Stage as Informal Learning Space is an exploration of the classical music stage within a framework of informal learning through the interactive concert performances of Fazıl Say. It delves into the artist’s conceptualization of the music-audience nexus along with his motivation for adopting an interactive manner that emerges through a verbal interaction between performer and listener during the concert performances. Using specific concert performances given in Malatya in Turkey, this book presents a detailed demonstration of such a space as a learning medium; and interprets its pedagogical meaning from both the artist’s and the audience’s perspectives.

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Chapter IV: The Malatya Experience

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Chapter IV THE MALATYA EXPERIENCE On the one hand music provides an opportunity to escape from life; on the other hand, it enables us to understand life better than many other disciplines. Daniel Barenboim Up to this point, the consideration has been on the notion of the interactive stage and informal learning mainly from the artist’s intention and point of view. Now, however, the interactive space will be discussed primarily from the audience’s perspective. Thus, the Malatya experience involves analyses of the questionnaire results that were generated based on the procedures set out in the previous chapter. To do this, first the themes that emerged from the audience’s responses will be given, followed by an elaboration of the comments regarding the process and experience. Despite the different methods of interaction used by Say in the student and public concerts, and in spite of the difference of the sample popu­ lation regarding their prior exposure to music, the findings from both ex­ periences have been shown together in order to try to ascertain the similarities and differences in the themes that emerge. Below, the parameters regarding the sample population’s previous musical exposure, followed by the presentation of the categories and related discussions will be set out. Some representative examples of audience responses will be also given (a summary of the categories that emerged from the open-ended questions is provided in Appendix F). The Musical Exposure of the Malatya Audience The analysis operates with the understanding that listeners’ past experiences provide a...

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