Second, revised edition
Chapter V: Conclusion
Chapter V CONCLUSION I should say that there are two principle requisites for talented listening: first, the ability to open oneself up to musical experience; second, the ability to evaluate critically that experience. Aaron Copland The earlier discussion of the music-audience nexus along with the dimension of interactivity was made on the basis of Say’s interactive stage. Through the example of Say’s Malatya concerts, the inner dynamics of this interactive space were demonstrated and discussed within the framework of informal learning along with some Vygotskian constructs that seem to appear as a part of the artist’s position regarding his audience. Then, the audience reflections (acquired through questionnaire application both before and after the concert) were demonstrated and discussed. In this chapter, first the informality of Say’s concert atmosphere that was previously mentioned in chapter two will continue to be considered from the audience’s perspective, and their interpretations will be elicited regarding the concerts. Second, the reconstruction of the meaning of the stage will be mentioned from the perspective of democratization of the stage. Third, the pedagogical implications of the interactive concerts will be covered, and this will be followed by a discussion of the extent to which these concerts succeeded in the long run based on the artist’s previous intention to reinforce the music- musicians-audience bonds. Back to the Matter of Informality In chapter two, the analysis of the concerts in the framework of informal learning was conducted from the perspective of performer himself. Due to the interactive environment, his...
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