Haswell-Martin Remy, Upham Finn, Høffding Simon, Nielsen Nanette
London College of Music, University of West London, London W5 5RF, UK.
RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, University of Oslo, 0318 Oslo, Norway.
Behav Sci (Basel). 2025 May 21;15(5):710. doi: 10.3390/bs15050710.
Live music can afford novel, transformative aesthetic interactions for individual audience members. Nevertheless, concert research tends to focus on shared experience. In this paper we offer an account of exploratory listening that foregrounds embodied-enactive engagement and affective resonance through close analysis of the music, physiological measurements, and reflections from interviews. Our analysis centres on data collected from two musician audience members about one specific piece out of a larger interdisciplinary project involving concerts given by the Stavanger Symphony Orchestra and The Norwegian Radio Orchestra in March and June of 2024. Through the combination of in-depth phenomenological interviews with musically skilled audience members and measurements of breathing and body motion, we explore aesthetic enactment beyond common patterns of 'synchronised' response, focusing on audience members' experiences of Harald Sæverud's 'Kjempeviseslåtten' (The Ballad of Revolt) (1943). We find forms of absorbed, both imaginative and embodied involvement, of listeners enacting meaningful contact with, and pathways through, the music that in some ways corroborate crowd patterns but also reveal exploratory expertise and idiosyncratic affective orientations.
现场音乐可以为个体听众提供新颖、具有变革性的审美互动。然而，音乐会研究往往侧重于共享体验。在本文中，我们通过对音乐、生理测量以及访谈反思的深入分析，阐述了一种探索性聆听，突出了具身-能动参与和情感共鸣。我们的分析聚焦于从两位音乐家听众那里收集的数据，这两位听众参与了一个更大的跨学科项目，该项目涉及斯塔万格交响乐团和挪威广播交响乐团在2024年3月和6月举办的音乐会中的一首特定曲目。通过对具有音乐技能的听众进行深入的现象学访谈，并结合呼吸和身体运动测量，我们探索了超越“同步”反应常见模式的审美表现，重点关注听众对哈拉尔德·塞弗鲁德的《反抗之歌》（1943年）的体验。我们发现了听众全神贯注的形式，既有想象性的也有具身性的参与，听众通过这些形式与音乐建立有意义的联系，并在音乐中找到路径，这些在某些方面证实了群体模式，但也揭示了探索性专长和独特的情感取向。
