ANALYSIS 4: BACH ALS TUSSENDOORTJE
After my first experience in a small concert setting, it was clear to me I wanted to test my concept of a concert and lecture. I was able to book the central space near my house and invite my neighbors and some friends. This gave me a nice opportunity to solidify my first experience in giving a hybrid concert/lecture in front of people who are not closely known with classical music. To learn from my own concept, I will provide an analysis of my performance in the same way I regarded the other three examples.
The audience existed of around 30 people. Most people who were there are not classically schooled and some don’t listen to classical music regularly. Most people in this concert were of age 60 and above.
COMMENTS
Looking back at my own concert, there are a few things I could improve. The scriptreading could have been a bit more smooth with less saying ‘uhm’. Besides, I think there are many interesting things I dipped my toes in, but in the future I could think of more focus in the concert. The length of some pieces was a bit long, I did not feel this was a huge problem, but at the end it felt like the audience might have been a bit done with the whole concert. It is something to consider.
Then I think there are two things not really properly thought over in my presentation. Number one is the interaction with the audience. I could have prepared that in one way or another, and would like to do that for the next performance. Asking questions may be a bit too flat. I could try and experience more active things, or playing with ideas from the audience on how to play a piece. The second thing is moments of reflection. I want to try and think on how to look back on the concert together with the audience.
SIX PRINCIPLES OF AUDIENCE ENGAGEMENT
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Entry point
The most obvious entry point I use is musical thematic material from suite nr.1 of Bach.
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Go beyond knowledge
When talking about the different uses of thematic material from the prelude in the rest of the movements of the suite, I play the musical moments and make the people hear the connection between the prelude and the other movements. I like how you hear the audience react to some degree of surprise (video 5.1). -
Tap your audience’s competence
I asked the audience a question in the beginning if they knew the pieces I played. From this I expand towards the whole suite having a certain form (video 5.2). -
Engage multiple intelligences
Linguistic: When talking I use a lot of metaphors. For instance about dances now and dances in Bach's time (video 5.3).
Musical: I play music a lot, but also explain with musical examples throughout my narrative.
Logical: I talk about structure of the suites.
Bodily: -
Visual: I show the difference between the ‘modern’ bow and the baroque bow (video 5.4). This could have been done with more rest and more care.
Interpersonal: -
Intrapersonal: I encourage people to listen to the connections in the music
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Reflect
In my concert there was not much space to reflect. The most things I did I tapped on briefly and then continued to the next bit. I could have taken more time for reflection. -
Project your personality
On the stage of this concert, I am very clearly myself. I use my normal vocabulary and show my insecurities on stage.
RESULTS OF SURVEY
The surveys were sent out a considerable time after the concert took place. Luckily, with some help from my neighbor, I could recover the contact information of 20 of the 30 people in the audience. Of those people half reacted, making a total of 10 reviews. Here I discuss the results briefly. In the appendix you can find the full answers. I discuss the results per question asked
What is your age?
From the replicants, 5 were around 26-38 years old, 5 around 70 years old
Do you listen to classical music more often?
One person replied no, four with a doubtful sometimes and five with the answer yes. The people replying with no or sometimes are the younger generation. Older people replied with a simple clear yes.
What was the thing that most stuck with you after this concert?
Most people answered that they remembered the suites containing ‘some kind’ of structure. They did mostly not say which one. That the movements are based on dances they did remember. Two people mention my sense of humor. Two people mention helping them get into the music with little clues (entry points).
What would you want to learn more about?
The answers to this question was, interestingly, almost unanimous: historical background. The details differed: historical background and its development in time, historical parallels with today’s culture, or historical background of the composer’s life. One person wanted to learn more about the historical dances.
What motivated you to go to the concert?
Most people came to see me, because they know me. Some people came because it was close by and some people came because they like Bach.
When I created the concert concept, I hoped to teach people a little about Bach and make them curious to learn more. Also, I wanted to make the show interesting for people already known with classical music. The combination of conversations with audience members afterwards and this survey, makes me sure that in some way I reached the purpose I wanted to go for. Most replicants told that what they had learned is the structure of the suites. Most of them came with different things they wanted to know more about, meaning that I was able to enthousiast the audience to look further. What I could improve is to know better what I want to teach them in the concert.