Pub Date : 2023-02-13DOI: 10.1177/02762374231155742
Atara Isaacson, Amichay Assis, Esther Adi-Japha
This mixed-methods study focused on cross-modal change in perception of paintings, by coupling them with related musical pieces. 120 participants were assessed using an online form, distributed via social media. They were asked to choose one of three realistic or abstract paintings, evaluate their perceptual characteristics on five semantic differential rating scales and answer three questions. The participants were then given a choice of three musical pieces (pre-selected to suit each painting) to match their chosen painting. Our findings revealed a significant change in three of the five scales. Moreover, for 93 of the 120 participants, the experience of looking at a painting while listening allowed projection of newly found perception or properties associated with music (dynamism through time, mobility, and the evocation of self-expression) onto the painting. These data suggest that as observers combine stylistically-fitting music with a painting, they find new meaning and value, thereby enhancing their experience.
{"title":"“Listening” to Paintings: Synergetic Effect of a Cross-Modal Experience on Subjective Perception","authors":"Atara Isaacson, Amichay Assis, Esther Adi-Japha","doi":"10.1177/02762374231155742","DOIUrl":"https://doi.org/10.1177/02762374231155742","url":null,"abstract":"This mixed-methods study focused on cross-modal change in perception of paintings, by coupling them with related musical pieces. 120 participants were assessed using an online form, distributed via social media. They were asked to choose one of three realistic or abstract paintings, evaluate their perceptual characteristics on five semantic differential rating scales and answer three questions. The participants were then given a choice of three musical pieces (pre-selected to suit each painting) to match their chosen painting. Our findings revealed a significant change in three of the five scales. Moreover, for 93 of the 120 participants, the experience of looking at a painting while listening allowed projection of newly found perception or properties associated with music (dynamism through time, mobility, and the evocation of self-expression) onto the painting. These data suggest that as observers combine stylistically-fitting music with a painting, they find new meaning and value, thereby enhancing their experience.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48704532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-12DOI: 10.1177/02762374231156859
Neriman Soykunt, S. Coban, Emine Kıvanç Öztuğ
The purpose of this research is to examine the effects of music classes conducted with the Kodály approach on the musical development of students. The research was carried out with the mixed method embedded design. The quantitative dimension of the research was carried out with the pre-test post-test control group experimental design, whereas, the case study comprises the qualitative dimension. The study group consisted of 24 experimental and 21 control group students. A lesson observation form, an aural skills test and an interview form were used to collect data in the study. The quantitative data was analyzed with SPSS 24.0, whereas the qualitative data was analyzed using the content analysis method. It was determined that the experimental group students were more successful than the control group students in their musical, rhythmic and melodic knowledge and skills. In addition, it is understood that the students found the classes conducted with the Kodály approach entertaining and instructive, and that the education in these classes was more comprehensible and more lasting with the use of Turkish Cypriot folk songs as a tool in music education in Northern Cypriot schools.
{"title":"The Effect of Music Classes Conducted in Northern Cypriot Schools with the Kodály Approach on the Musical Development of Students: A Pilot Study","authors":"Neriman Soykunt, S. Coban, Emine Kıvanç Öztuğ","doi":"10.1177/02762374231156859","DOIUrl":"https://doi.org/10.1177/02762374231156859","url":null,"abstract":"The purpose of this research is to examine the effects of music classes conducted with the Kodály approach on the musical development of students. The research was carried out with the mixed method embedded design. The quantitative dimension of the research was carried out with the pre-test post-test control group experimental design, whereas, the case study comprises the qualitative dimension. The study group consisted of 24 experimental and 21 control group students. A lesson observation form, an aural skills test and an interview form were used to collect data in the study. The quantitative data was analyzed with SPSS 24.0, whereas the qualitative data was analyzed using the content analysis method. It was determined that the experimental group students were more successful than the control group students in their musical, rhythmic and melodic knowledge and skills. In addition, it is understood that the students found the classes conducted with the Kodály approach entertaining and instructive, and that the education in these classes was more comprehensible and more lasting with the use of Turkish Cypriot folk songs as a tool in music education in Northern Cypriot schools.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46841322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.1177/02762374231154179
Krishnarjun Bora, M. Barman, A. N. Patowary
Raaga is the heart of Indian Classical Music. A raaga is an arrangement of 12 notes in the octave. Like Indian classical music, Sankari Sangeets which are composed 500 years ago are also based on raaga. The musicologist of Sankari Sangeet found nearly 26 different raagas in Sankaree Sangeet. Each of these raagas has some specific characteristics such as Aruhana (Ascending order of notes), Avaruhana (Descending order of notes), Pakad, Time of Singing, Vadi swara (Dominant/Important Note), Samvadi swara (Second Dominant Note), etc. This piece of work considers all of the 26 raagas of Sankari Sangeet to statistically cluster on the basis of 18 features extracted from each raaga. For clustering of the raagas, k-prototypes clustering technique is used which gives four clusters of sizes 9, 4, 6, and 7. Also, a comparison is carried out between the clusters obtained from k-prototypes clustering and existing theoretical Thaat-based classification.
{"title":"Clustering the Raagas of Sankari Sangeet—A Computational Approach","authors":"Krishnarjun Bora, M. Barman, A. N. Patowary","doi":"10.1177/02762374231154179","DOIUrl":"https://doi.org/10.1177/02762374231154179","url":null,"abstract":"Raaga is the heart of Indian Classical Music. A raaga is an arrangement of 12 notes in the octave. Like Indian classical music, Sankari Sangeets which are composed 500 years ago are also based on raaga. The musicologist of Sankari Sangeet found nearly 26 different raagas in Sankaree Sangeet. Each of these raagas has some specific characteristics such as Aruhana (Ascending order of notes), Avaruhana (Descending order of notes), Pakad, Time of Singing, Vadi swara (Dominant/Important Note), Samvadi swara (Second Dominant Note), etc. This piece of work considers all of the 26 raagas of Sankari Sangeet to statistically cluster on the basis of 18 features extracted from each raaga. For clustering of the raagas, k-prototypes clustering technique is used which gives four clusters of sizes 9, 4, 6, and 7. Also, a comparison is carried out between the clusters obtained from k-prototypes clustering and existing theoretical Thaat-based classification.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47186235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-18DOI: 10.1177/02762374221143723
Ivan Z. Stojilović
This study examined the effects of psychotic tendencies on aesthetic preferences for paintings. Although psychotic tendencies and related phenomena are often associated with creative achievements, little research in the field of experimental aesthetics has investigated their effects on the aesthetic experience. This study (N = 153) examined how the positive, negative and disorganized aspects of psychotic tendencies, defined through a comprehensive model of the Disintegration trait, are related to the aesthetic preferences of paintings. Results indicated a general trend whereby Disintegration and its modalities had a positive effect on the aesthetic preferences of non-canonical (Ugly and Incomprehensible) paintings, and a negative effect on canonical, traditional (Beautiful and Comprehensible) paintings. Examination of the Disintegration trait provides us with additional information regarding aesthetic preferences, compared to use of the Big Five model alone. Two processes – conservation and progression – are proposed as explanations for the findings.
{"title":"The Effects of Psychotic Tendencies on Aesthetic Preferences of Paintings","authors":"Ivan Z. Stojilović","doi":"10.1177/02762374221143723","DOIUrl":"https://doi.org/10.1177/02762374221143723","url":null,"abstract":"This study examined the effects of psychotic tendencies on aesthetic preferences for paintings. Although psychotic tendencies and related phenomena are often associated with creative achievements, little research in the field of experimental aesthetics has investigated their effects on the aesthetic experience. This study (N = 153) examined how the positive, negative and disorganized aspects of psychotic tendencies, defined through a comprehensive model of the Disintegration trait, are related to the aesthetic preferences of paintings. Results indicated a general trend whereby Disintegration and its modalities had a positive effect on the aesthetic preferences of non-canonical (Ugly and Incomprehensible) paintings, and a negative effect on canonical, traditional (Beautiful and Comprehensible) paintings. Examination of the Disintegration trait provides us with additional information regarding aesthetic preferences, compared to use of the Big Five model alone. Two processes – conservation and progression – are proposed as explanations for the findings.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48259714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-12DOI: 10.1177/02762374221143718
Doo-Hak Kim
This study proposed that viewers’ experiential accounts of shedding tears in art museums in their blog narratives can help understand the distinctive characteristics of the tear-shedding experience in visual arts. This study systematically examined 34 accounts of shedding tears from blog narratives following a phenomenological approach. It identified recurrent themes (constituents) and clustered them into three groups according to theme profile similarities. During the moment of tears from sudden overwhelming stimulation (Cluster II), an apparent bidirectional empathic process emerged when viewers shed tears during visual art appreciation. Viewers could empathize with the world depicted in the artwork (Cluster III) and felt understood when they encountered their innermost selves through it (Cluster I). The study's findings offer a compelling basis for empirically identifying the meaning of the tear-shedding experience from visual arts in the fine art domain while integrating previous studies.
{"title":"Three Forms of Tears at Art Museums: A Phenomenological Study of Viewers’ Tear-Shedding Experiences Through Blog Narratives","authors":"Doo-Hak Kim","doi":"10.1177/02762374221143718","DOIUrl":"https://doi.org/10.1177/02762374221143718","url":null,"abstract":"This study proposed that viewers’ experiential accounts of shedding tears in art museums in their blog narratives can help understand the distinctive characteristics of the tear-shedding experience in visual arts. This study systematically examined 34 accounts of shedding tears from blog narratives following a phenomenological approach. It identified recurrent themes (constituents) and clustered them into three groups according to theme profile similarities. During the moment of tears from sudden overwhelming stimulation (Cluster II), an apparent bidirectional empathic process emerged when viewers shed tears during visual art appreciation. Viewers could empathize with the world depicted in the artwork (Cluster III) and felt understood when they encountered their innermost selves through it (Cluster I). The study's findings offer a compelling basis for empirically identifying the meaning of the tear-shedding experience from visual arts in the fine art domain while integrating previous studies.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46413720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-09DOI: 10.1177/02762374221143717
Paweł Fortuna, Artur Modliński, Monika McNeill
Not only does the art market include human and nonhuman creators, it also incorporates technologically augmented artists, called cyborgs. They use wearables, sensors, chips, and even new organs to process various stimuli, such as electromagnetic radiation, atmospheric pressure, or ultraviolet rays, to produce artworks. Little is known however, how the objects produced by them are perceived by the art recipients. This paper applies an experimental study with 373 non-experts in the field of art. The results show that the perceived value of the painting depends on the type of agent and on the context of the evaluation. The price of objects created by a human artist is significantly higher if the context cue is the price of the canvas made by humanoid robot than another human. People value cyborg's artwork similarly to human-generated artwork when contextual cue is human, and similarly to robot-generated artwork when contextual cue is humanoid robot.
{"title":"Creators Matter. Perception and Pricing of Art Made by Human, Cyborgs and Humanoid Robots","authors":"Paweł Fortuna, Artur Modliński, Monika McNeill","doi":"10.1177/02762374221143717","DOIUrl":"https://doi.org/10.1177/02762374221143717","url":null,"abstract":"Not only does the art market include human and nonhuman creators, it also incorporates technologically augmented artists, called cyborgs. They use wearables, sensors, chips, and even new organs to process various stimuli, such as electromagnetic radiation, atmospheric pressure, or ultraviolet rays, to produce artworks. Little is known however, how the objects produced by them are perceived by the art recipients. This paper applies an experimental study with 373 non-experts in the field of art. The results show that the perceived value of the painting depends on the type of agent and on the context of the evaluation. The price of objects created by a human artist is significantly higher if the context cue is the price of the canvas made by humanoid robot than another human. People value cyborg's artwork similarly to human-generated artwork when contextual cue is human, and similarly to robot-generated artwork when contextual cue is humanoid robot.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46563277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-06DOI: 10.1177/02762374221143727
Young-Jin Hur, N. Etcoff, Emmanuel S. Silva
Despite fashion being one of the most common and accessible aesthetic activities in everyday life, very few empirical studies of clothing selection and preferences exist. To address this empirical gap, an online survey of 500 participants was constructed. A four-factor preference structure, Everyday Clothing Preference Factors (ECPF), emerged, consisting of essential, comfortable, feminine, and trendy styles. Further analysis revealed the preference for each of these four factors to be associated with clothing colors and individual differences. The transferability of ECPF across three preference judgment types (clothing one likes and owns, clothing one likes but does not own, and clothing one owns but does not like) revealed the robustness of the preference structure, through which a short version of ECPF was created. The paper concludes by discussing the implications and impact of scientifically studying fashion as an object of aesthetics and empirical study.
{"title":"Can Fashion Aesthetics be Studied Empirically? The Preference Structure of Everyday Clothing Choices","authors":"Young-Jin Hur, N. Etcoff, Emmanuel S. Silva","doi":"10.1177/02762374221143727","DOIUrl":"https://doi.org/10.1177/02762374221143727","url":null,"abstract":"Despite fashion being one of the most common and accessible aesthetic activities in everyday life, very few empirical studies of clothing selection and preferences exist. To address this empirical gap, an online survey of 500 participants was constructed. A four-factor preference structure, Everyday Clothing Preference Factors (ECPF), emerged, consisting of essential, comfortable, feminine, and trendy styles. Further analysis revealed the preference for each of these four factors to be associated with clothing colors and individual differences. The transferability of ECPF across three preference judgment types (clothing one likes and owns, clothing one likes but does not own, and clothing one owns but does not like) revealed the robustness of the preference structure, through which a short version of ECPF was created. The paper concludes by discussing the implications and impact of scientifically studying fashion as an object of aesthetics and empirical study.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47094460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-05DOI: 10.1177/02762374221143712
M. Zickar, Brent A. Stevenor
To understand the relation between artistic reputation and sales prices from popular online auction sites, we analyzed over 3,000 online auction sales of 87 American artists who had expertise in watercolor using the websites eBay, LiveAuctioneers, and EBTH. Traditional indexes of reputation were measured by museum placements, as well as archival holdings, and book references and we also included the number of Instagram mentions. We used hierarchical linear modeling to investigate the relation of reputation with average prices as well as price trends over time, controlling for individual painting characteristics such as size and medium. All of our artistic reputation indicators, including number of Instagram hashtag references, were positively related to the average sales price per artist. Our results extend the literature on the role of artistic reputation to account for social media via Instagram, as well as provide one of the first empirical investigations of popular online art auctions.
{"title":"An Evaluation of Reputation Using Online Auction Data for a Group of American Watercolorists","authors":"M. Zickar, Brent A. Stevenor","doi":"10.1177/02762374221143712","DOIUrl":"https://doi.org/10.1177/02762374221143712","url":null,"abstract":"To understand the relation between artistic reputation and sales prices from popular online auction sites, we analyzed over 3,000 online auction sales of 87 American artists who had expertise in watercolor using the websites eBay, LiveAuctioneers, and EBTH. Traditional indexes of reputation were measured by museum placements, as well as archival holdings, and book references and we also included the number of Instagram mentions. We used hierarchical linear modeling to investigate the relation of reputation with average prices as well as price trends over time, controlling for individual painting characteristics such as size and medium. All of our artistic reputation indicators, including number of Instagram hashtag references, were positively related to the average sales price per artist. Our results extend the literature on the role of artistic reputation to account for social media via Instagram, as well as provide one of the first empirical investigations of popular online art auctions.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47656917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-05DOI: 10.1177/02762374221143725
Nan-Ching Tai
The methods of creating three-dimensional depth in two-dimensional paintings in the West and the East are quite different. Chinese paintings use layers of pictorial cues of relative size to create a sense of depth, while Western paintings utilize a linear perspective to integrate size related pictorial cues. The Chinese Scholar's Garden is known for its sense of endless spatial experience and illusory scene depth. This study examined how the pictorial space composed in Chinese landscape paintings was realized in the Chinese Scholar's Garden. The Lin Family Garden was selected for its adoption of the architectural style of the Chinese Scholar's Garden, and perceptual studies were conducted. The results confirmed that the uncommon reductions of the architectural elements observed in the garden can be an intentional effort to implement the pictorial depth cue of relative size utilized in Chinese landscape paintings to enrich the spatial depth of the garden scenes.
{"title":"Effect of Pictorial Depth Cues on Illusory Spatial Depth of the Lin Family Garden","authors":"Nan-Ching Tai","doi":"10.1177/02762374221143725","DOIUrl":"https://doi.org/10.1177/02762374221143725","url":null,"abstract":"The methods of creating three-dimensional depth in two-dimensional paintings in the West and the East are quite different. Chinese paintings use layers of pictorial cues of relative size to create a sense of depth, while Western paintings utilize a linear perspective to integrate size related pictorial cues. The Chinese Scholar's Garden is known for its sense of endless spatial experience and illusory scene depth. This study examined how the pictorial space composed in Chinese landscape paintings was realized in the Chinese Scholar's Garden. The Lin Family Garden was selected for its adoption of the architectural style of the Chinese Scholar's Garden, and perceptual studies were conducted. The results confirmed that the uncommon reductions of the architectural elements observed in the garden can be an intentional effort to implement the pictorial depth cue of relative size utilized in Chinese landscape paintings to enrich the spatial depth of the garden scenes.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41673928","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-25DOI: 10.1177/02762374221128729
S. Chambers
The way in which platforms curate and assemble the music they present plays an important role in mediating fields of artistic practice to audiences. The different curatorial logics of platforms help shape the way audiences understand the contours of a field of creative practice and the extent to which they are exposed to novel and unfamiliar sounds. This article draws on a large-scale content analysis of how classical music is represented on each of radio, digital playlists and live concert programming to investigate the degree to which each platform supports audiences to engage with unfamiliar music. Incorporating novel approaches to measuring familiarity, the results demonstrate that concerts provide the most diverse and varied programming, whereas digital playlists assemble the most homogeneous musical landscape for listeners. As audiences increasingly shift to digital platforms, these curatorial patterns have significant implications for artistic practices by limiting opportunities for less established and more esoteric voices.
{"title":"The Curation of Music Discovery: The Presentation of Unfamiliar Classical Music on Radio, Digital Playlists and Concert Programmes","authors":"S. Chambers","doi":"10.1177/02762374221128729","DOIUrl":"https://doi.org/10.1177/02762374221128729","url":null,"abstract":"The way in which platforms curate and assemble the music they present plays an important role in mediating fields of artistic practice to audiences. The different curatorial logics of platforms help shape the way audiences understand the contours of a field of creative practice and the extent to which they are exposed to novel and unfamiliar sounds. This article draws on a large-scale content analysis of how classical music is represented on each of radio, digital playlists and live concert programming to investigate the degree to which each platform supports audiences to engage with unfamiliar music. Incorporating novel approaches to measuring familiarity, the results demonstrate that concerts provide the most diverse and varied programming, whereas digital playlists assemble the most homogeneous musical landscape for listeners. As audiences increasingly shift to digital platforms, these curatorial patterns have significant implications for artistic practices by limiting opportunities for less established and more esoteric voices.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2022-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45765685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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