Classical concert visitor types: Attendance motivation, expectation, and 
experience

Tröndle, Martin; Weining, Christian; Wald-Fuhrmann, Melanie; Tschacher, Wolfgang

doi:10.1080/10632921.2025.2480585

Item

ITEM ACTIONSEXPORT

Add to Basket

Local TagsRelease HistoryDetailsSummary

Released

Journal Article

Classical concert visitor types: Attendance motivation, expectation, and experience

MPS-Authors

/persons/resource/persons133247

Wald-Fuhrmann, Melanie
Department of Music, Max Planck Institute for Empirical Aesthetics, Max Planck Society;

External Resource

No external resources are shared

Fulltext (restricted access)

There are currently no full texts shared for your IP range.

Fulltext (public)

mus-25-wal-02-classical.pdf
(Publisher version), 3MB

Supplementary Material (public)

There is no public supplementary material available

Citation

Tröndle, M., Weining, C., Wald-Fuhrmann, M., & Tschacher, W. (2025). Classical concert visitor types: Attendance motivation, expectation, and experience. The Journal of Arts Management, Law, and Society, 55(1). doi:10.1080/10632921.2025.2480585.

Cite as: https://hdl.handle.net/21.11116/0000-0011-0C13-B

Abstract

The motivation to attend cultural events is an insightful aspect with which to study audiences. To understand their motivations and experiences is key for audience development. However, classical concert visitors have rarely been studied in this regard. Moreover, the relationship between motivation and experience has not been studied at all. To shed light on this topic, 802 concertgoers of a concert series were surveyed before and after the concert about their motivations, expectations, and experiences and also provided sociodemographic information. A cluster analysis of motivation items reveals four types of concert visitors: concert accompaniers, concert enthusiasts, social-event visitors, and music lovers. The statistical analysis of the types shows that they also differ regarding frequency of concert attendance, music education, lifestyle, listening modes, etc., as well as regarding their expectations and experiences. For the field of audience research, this analysis represents a comprehensive and novel perspective on classical concert visitors and offers meaningful implications in the fields of arts management, cultural sociology, and concert design.