RNCM Research Forum - Dr Emily Payne (University…

Our Research Forums provide in-depth insight into some of the cutting-edge research that is taking place at the RNCM. Hear presentations from academics, performers, and composers as they share the latest developments in their fields, discuss innovative techniques, and explore new perspectives on music performance, composition, and scholarship. These forums offer a unique opportunity to engage with ground-breaking work, ask questions, and gain a deeper understanding of the evolving landscape of music research at the RNCM. Talks usually last about an hour, including a Q&A session. Join us in person or watch this session livestreamed. About Live performance is ripe with opportunities for rich and complex encounters and interactions, and the performer-audience relationship is an integral and potentially powerful aspect of these experiences. Indeed, performers? strong emotional experiences frequently involve an audience response (Lamont, 2012). Yet, despite the large body of research on audience experiences of live performance, there is limited work on the ways in which audiences influence the performer?s creative process during performance, as well as in its preparation and evaluation. This paper explores musicians? self-reported experiences of the performer-audience relationship gathered through a qualitative study. Findings suggest that the audience plays an integral role (both positive and negative) in the emotions and behaviours connected to performance, and that performers? experiences of their audiences are shaped by, and distributed across, a range of bodily, material, social, and cultural dimensions. I conclude by considering the implications of performer perspectives for working towards a framework for understanding the performer-audience relationship and its potential applications for pedagogy and practice.?? Emily Payne is an Associate Professor of Music at the University of Leeds. She is interested understanding musicians? experiences of performance across a range of contexts, but often in contemporary concert and experimental music. Her work sits across musicology and music psychology, and combines qualitative empirical research methods with musicological enquiry, including score analysis and archival research. She is co-editor of?The Oxford Handbook of Time in Music?(2021) and?Material Cultures of Music Notation: New Perspectives on Musical Inscription?(Routledge, 2022).? WATCH LIVE Wednesday 26 March 2025, 4.15pm