What keeps potential audiences from attending?

Transcription

1 Cncert hall De Delen, Rtterdam - PieterHeykp.nl What keeps ptential audiences frm attending? Cnstraints fr classical music cncerts revealed Mireille Heijnen MA Arts, Culture & Sciety Erasmus University Rtterdam August 2015 Supervisrs: C.J. van den Dl, MA prf. Dr. C.J.M. Eijck

2 Erasmus University Rtterdam Master s Thesis Mireille Heijnen Master prgramme: Arts, Culture & Sciety August 2015 Supervisrs: C.J. van den Dl, MA prf. Dr. C.J.M. Eijck

3 [ ] k, and then I am in that cncert hall. What else can I d, besides listening? I am mre used t yelling, shuting and thrwing beer every nw and then. I assume that this is nt allwed in De Delen [ ] (wman, 21) 3

4 Table f Cntents Preface Intrductin Research aim Relevance Theretical fundatin Prblem statement Prblem definitin Expectatins Theretical Framewrk Classical music Classical music cncerts Cnstraints Leisure behavir and mtives Cultural participatin Methds and Data Data cllectin Methds Results and analysis Sci demgraphics Leisure activities Cultural leisure activities Favred activities Classical music cncert Cnclusin n cultural activities Mtives fr leisure Relaxatin Gezelligheid Having an unfrgettable experience Cnclusin n mtives Cnstraints visiting classical music cncerts Cmparisn f bth samples cncerning perceived cnstraints

5 Prduct Classical music (cncerts) as a cnstraint Knwledge abut classical music as a cnstraint It just did nt happen Cnstraints and phase f life Cnstraints and (time) planning ahead Inf nt nticed It des nt suit me Atmsphere utside the cncert hall Cnclusin Nn-attendance in classical music cncerts Research bjective Research questins Sci demgraphics, cultural activities and mtivatins in leisure Sci demgraphics Cultural activities and mtives Cnstraints fr attending classical music cncerts Main research questin Implicatins Limitatins Discussin References Appendices

6 Music gives a sul t the universe, wings t the mind, flight t the imaginatin and life t everything. Plat Preface Since my early twenties I have learned t appreciate classical music next t ppular frms f music I already listened t. My classical music jurney started with hearing a cmmercial n the radi. I cannt remember what prduct the cmmercial was fr, but I d remember the music, which I then related t classical music. Withut having Shazam, I had t g t the recrd stre t sing the tune fr the recrd salesman. Frtunately he recgnized the music. It was Carl Orff s Carmina Burana, Oh Frtuna. I bught the vinyl and listened t it ever since. Even thugh I did nt knw hw t cntinue frm Carmina Burana, I did like this newly discvered genre, s I just started listening t the big names, such as Mzart, Beethven and Bach. I wuld nt cnsider myself an expert in classical music, but I really value this genre and I wuld be very sad if classical music cncerts at sme day cannt be visited anymre. Therefre I have been truly enthusiastic abut the pssibility t discver what kind f cnstraints peple experience in attending such cncerts. I really enjyed ding the interviews with ten peple, and I wuld like t thank my interviewees fr pening up t me and sharing all their thughts, experiences and cntemplatins with me. I als wuld like t thank Rtterdam Philharmnic Orchestra (RPhO), mre specifically Pim Halkes fr sharing his request with Erasmus University Rtterdam. Hpefully my findings can help yu with cnnecting new audiences t the Rtterdam Philharmnic. Furthermre, I want t thank my supervisr Jac van den Dl, fr his supprt and fr sharing his believe in a successful prcess. Yur feedback has been much appreciated and valued, and has encuraged me t take the extra step. I hpe yu enjy the reading f this thesis as much as I enjyed writing it. Mireille Heijnen August

7 1. Intrductin Classical music has peple wrried, s states Kramer (2007; p.1). And indeed, when yu lk arund yu during a classical cncert, fr instance Beethven s first Symphny, it is mst likely that yu see a lt f peple arund the age f 65 years and beynd. Besides, yu might see sme empty chairs arund yu as well. These facts are nthing new. It is quite cmmnly knwn that, since the last decades, it has becme harder and harder t interest audiences fr classical cncerts (Abbing, 2009; Idema, 2012; Van den Brek, 2013). Orchestras have a lwer number f regular visitrs and this gap is nt filled up by new, yunger, audiences, s states Van den Brek (2013). The Rtterdam Philharmnic Orchestra (RPhO) is interested in understanding this situatin by finding an answer t the questin why nn-attenders are nt interested in visiting classical music cncerts. Accrding t Idema (2012) it is nt the music itself that restrains peple, but the way classical music is presented that keeps them away frm classical music cncerts. He states that nnattendance is mainly caused by the current cncert rituals. S says Abbing (2009), wh claims that the current setting f classical music is just t frmal. Via several initiatives it has been tried t make classical music (cncerts) attractive fr audiences that are nt familiar with it, fr instance by presenting it thrugh a ppular channel; televisin. T name sme examples that have been bradcasted n Dutch tv in 2014: Maestr, De Tiende van Tijl and Festival Classique, all bradcasted by AVROTROS. RTL4 came with Het Orkest van Nederland, in which amateur musicians auditined t be part f the Orchestra f the Netherlands. If they were selected, they wn a perfrmance in Het Cncertgebuw in Amsterdam. This way f presenting classical music, which is usually recgnized as a frm f high culture, via ppular channels such as televisin, is an interesting initiative which culd have a psitive influence n cncert attendance. Hwever, cnfirmatin abut these effects have nt been fund. I wuld argue that these kind f TV prgrammes fulfill a rle f entertainment mainly and can hardly structurally affect cncert attendance. In rder t influence cncert attendance psitively, sme essential infrmatin is lacking, namely which cnstraints the current grup f nn-visitrs experience. Understanding cnstraints nt nly indicates why peple nt attend certain (cultural) activities, is can als serve the gal f indicating the kind f trends sciety underges (Jacksn, Crawfrd & Gdbey, 1992; Samdahl & Jekubvich, 1997). Pssible cnstraints fr attending classical music cncerts have nt been studied exclusively. Understanding what the bstacles are, the cnstraints which make peple nnattenders, can prvide useful infrmatin in scietal terms, but delivers als imprtant infrmatin 7

8 fr the management f venues and the rganizatin and marketing f such type f cncerts. Infrmatin abut nn-attenders (r nn-visitrs, these terms are bth used representing the same grup), is nt widely available. And nce it is, it infrms us mstly n a rather general level; in sci-demgraphics. A mre thrugh understanding f cnstraints that prevent them frm becming a new audience in the cncert hall, is nt ffered. Therefre, the guiding research questin fr this study is: T what extent d nn-visitrs f classical music cncerts in the Rijnmnd regin experience cnstraints fr attending cncerts f the Rtterdam Philharmnic Orchestra. Sub-questins that need t be answered are: What sci demgraphic characteristics apply t the grup f prspective visitrs and what needs and wants d they indicate in leisure? What categries f cnstraints can be detected within this grup that currently are nnattenders? 1.1.Research aim The aim f this study, thus, is t gain an insight int what kind f cnstraints peple experience fr nt visiting classical cncerts. This grup f nn-visitrs, that t date has been addressed as a black bx (Van den Brek, 2013), des need further explratin. Fr my thesis this is mainly dne via the kind f mtivatins and cnstraints that can be distinguished amng this grup f prspects (current nn-visitrs). Based n utcmes f this study, Rtterdam Philharmnic Orchestra will mst likely have a better and mre differentiated view n their prspect audience, which culd help turning prspects int a new audience. Further, it will give an insight in cultural participatin in general, which relates t mre scietal trends. 1.2.Relevance This research prject is initiated by the Rtterdam Philharmnic Orchestra (RPhO). Just as ther Orchestras they ntice changes in their audience. Recently, cnsumer research amng the audience f RPhO has been dne by Insites-Cnsulting (Witlx, Van der Hest & Huisman, 2014). This qualitative research prject resulted in three types f audiences: brand lvers, cherry pickers and prspects; the current nn-attenders. In chapter 2, these three distinctive audience prfiles are 8

9 explained. This master thesis will (partly) build upn the infrmatin that is knwn abut prspects. Thrugh infrmatin abut cnstraints that prspects, r ptential visitrs experience is nt available, yet. A deeper understanding abut this grup is relevant, r maybe even needed, when RPhO wants t attract new, and yunger, audiences. Once it is knwn what cnstraints ptential visitrs encunter, RPhO might have reasns t make adjustments in their plans fr the (near) future. But, nt nly is this infrmatin relevant fr RPhO, as it als relates t current cultural plicy in The Netherlands. As published by the Cuncil fr Culture n April , mre attentin needs t be paid t cultural regins. As als recgnized by the Cuncil fr Culture, behavir, taste and frmatin f audiences is changing rapidly. Yet, they want t supprt all art frms, and finds it imprtant that every kind f art shuld be enabled t find its audience. And therefre, the gvernment intends t supprt cultural institutes t attract brader audiences. Anther aspect that makes this thesis relevant, is that lw participatin is generally perceived as a prblem (Kay, Wng & Plnsky, 2009). Mst institutes are funded by public mney and they shuld ffer value t a wide audience. Besides, cultural attractins are suppsed t develp a brader scial capital by enhancing cmmunity engagement and this nly wrks if enugh visitrs are attracted. B, Carruthers and Busser (2014) add that lw participatin threatens the sustainability and develpment f cultural institutes. Scientifically, this research prject is relevant as well. Currently, sme sci-demgraphic infrmatin is knwn abut ptential visitrs and n cnstraints they experience in cultural activities. Hwever, these data have nt been gathered in a qualitative way (Van den Brek, 2013), and were nt gathered fr classical music cncerts exclusively. Furthermre, data cllectin has nt been dne in a specific regin, as will be dne nw fr the Rijnmnd Regin, because RPhO is situated in that regin. With this prject, current theries can be refined, thrugh which we might get clser t understanding cnstraints in attending classical music cncerts. Next t this, experienced cnstraints might als serve the aim f understanding leisure chices ver time (Samdahl & Jekubvich, 1997). Change in leisure behavir culd indicate r explain leisure preferences, which expresses infrmatin abut current sciety. 9

10 1.3.Theretical fundatin Theretical fundatin f this study is fund is in several cncepts. First f all the genre classical music needs explratin. Nwadays, classical music is seen as a frm f high culture, but this has nt always been s (Abbing, 2009; DiMaggi, 1998; Kramer, 2007). Whereas it started as music fr all classes, since the nineteenth century it gradually mved int a frm f music fr mainly upper class peple (DiMaggi, 1998; Kramer, 2007). Nt all peple f Dutch sciety participate in classical music cncerts (Van den Brek, 2013). Hwever, what reasns peple have fr nt attending classical music cncerts, has nt been studied qualitatively, until nw. Abbing (2009) and Idema (2012) indicated that current sciety is changing and has becme mre infrmal. This can be seen, fr instance, in a bigger interest in ppular frms f culture, such as film (Abbing, 2009; Van den Brek, 2013). Accrding t Abbing and Idema the frmal setting f classical music cncerts des nt cnnect t this mre and mre infrmal sciety. Anther theretical fundatin fr this study abut cultural (nn)participatin can be fund in the amunt f ecnmic, scial and cultural capital (Burdieu, 1984). Accrding t Burdieu these frms f capital influences cultural participatin. It is still mre likely that yu encunter peple with higher amunts f capital in the classical cncert hall, but this image is changing. A mre recent thery has indicated that the higher class has develped a brader taste. They nt nly cnsume higher frms f culture, they als attend mre ppular frms f culture (Peterssn, 1992). Cultural participatin is, amng ther aspects, driven by mtivatins. The kind f needs peple value in their leisure time, e.g. self-develpment r diversin, influences the srt activities they undertake. (Kelly and Gdbey, 1992; Kleiber, Walker & Mannell, 2011; Mulder, 2011). These individual needs fr leisure shw relatins with scietal trends (Mulder, 2011). Fr the bigger picture it is imprtant t knw what prspects value in their free time as this plays a rle in the chices they make. Furthermre, leisure has a lt t ffer and with a precius share f free time, peple want t make the right chice fr themselves. The main aspect that need t be cnsidered, hwever, are the cnstraints which hld nnvisitrs back frm ging t classical music cncerts? Via these cnstraints that nn-visitrs experience, an insight is gained in the perceptin f classical music cncerts. Frm previus research it is knwn that several categries f cnstraints exist. Kelly and Gdbey (1992) recgnized three different categries: intrapersnal, interpersnal and structural cnstraints. They first claimed that these cnstraints ccurred in a certain rder, but later n they stated that 10

11 cnstraints are negtiated. Kay, Wng and Plnsky (2009) use a slightly different categrizatin. They use external factrs, prduct specific factrs and persnal factrs that can cnstrain peple frm attending (leisure) activities. Hw these cnstraints can be categrized fr the sample in this thesis will be explained in the Results and analysis chapter. In chapter 3 the theretical framewrk f this thesis is given. 11

12 2. Prblem statement This chapter discusses the prblem definitin which is central t the prpsed research, fllwed by the expectatins. 2.1.Prblem definitin The grup f nn-visitrs is bigger than the grup f visitrs that attend classical music cncerts. In sme studies it is stated that he number f visitrs is decreasing (Abbing, 2009; Idema, 2012; Van den Brek, 2013) and if this trend cntinues this part f the cultural sectr gets in truble. The Rtterdam Philharmnic Orchestra has t put mre effrt in reaching visitrs. Obviusly, they want t make adequate effrt and therefre fundamental knwledge abut the nn-attenders, and thus presumable ptential visitrs, is essential. Reasns fr this decline in classical music cncert attenders d nt lead t ne particular cause. Frm a scietal perspective, Abbing (2009) states that sciety has becme mre infrmal and the cnventins in classical music may be perceived as being t frmal. Van den Brek (2013) adds that mainly yunger grups d nt feel attracted t the cnventins arund classical music cncerts. Idema (2012) assumes that a t lng attentin-span is required frm the audience. The music itself des nt seem t be the prblem, accrding t Idema, althugh he states that the way f presenting the music t the public culd d with sme new initiatives. When lked at nn-visitrs, which might becme ptential visitrs, it has t be cncluded that nly little is knwn abut them. Available data is mainly gathered in a quantitative way. We d knw abut their sci-demgraphics, hwever, we lack infrmatin abut what cnstraints they experience fr visiting the Rtterdam Philharmnic Orchestra. Next t this, additinal infrmatin abut the cultural activities they chse in leisure, and mre imprtantly why they chse them, is essential fr getting a clearer picture abut this grup. Furthermre, it culd cntribute t new cultural plicies strategies that fcus n attracting new audiences. 2.2.Expectatins The grup f nn-visitrs f classical music cncerts is quite numerus, and thus it is expected that within this grup cultural patterns can be distinguished, just as is detected within visitrs f museums (Hanquinet, 2013) and classical music attenders (Rse, 2008; Rse, 2010). Hd 12

13 (1983) claims that if we really want t understand hw cnsumers make decisins in leisure, it is essential t knw mre abut their values, perceptins, interests and expectatins. Cncerning the cnstraints that peple experience, such as the atmsphere and enturage in the cncert hall, it is expected that cnstraints influence their nn-attendance. Especially under yunger ptential audiences (16 40 years ld), this cnstraint is mentined (Van den Brek, 2013). Furthermre, cnstraints refer t the fact that scial cntacts peple have, influence their participatin in cultural activities. If friends visit cncerts, it is mre likely that nn-attenders will try a cncert as well (Rse, 2008). 13

14 3. Theretical Framewrk Classical rchestras have t deal with changing audiences. This change, which already ccurs in the past decades, happens in tw different ways; a declining number f visitrs and aging visitrs. The aim f this thesis is t reveal what hlds peple back frm attending classical music cncerts; what kind f cnstraints nn-attenders f classical music cncerts experience. Fundatin fr this study can be fund in several cultural theries. First, an insight is given int classical music (cncerts) fllwed by an verview n cnstraints peple perceive (3.3), after which mtivatins fr leisure are described (3.4). Based n cnstraints and mtivatins, peple decide whether they want t participate in an activity. The final paragraph will shw the latest findings n cultural participatin. 3.1.Classical music Accrding t Oxfrd Advanced Learner s Dictinary (7 th editin), classical music refers t: music written in a Western musical traditin, usually using an established frm (fr example a symphny) and nt played n electrnic instruments. Classical music is generally cnsidered t be serius and t have lasting value. The cncept classical music derives frm the perid sn after Beethven s death. At that mment, the s called (imaginary) music museum had been frmed, which symblizes the musical cann (Ck, 1998). This cann represents music that shuld be kept, the great music, even lng after the cmpsers death. The term classical is brrwed frm the Greek and Rman classical art, which is seen as universal standard f beauty. This kind f standard als applies t music since then. The way f thinking abut classical music is riginated frm the perid in which Beethven cmpsed his wrks, nt being cmmissined by, fr instance, the church. He was able t wrk, in ttal freedm and therefre he intrduced, fr that time, new and innvative music. Peple that admired his wrk, tried t understand this and made active receptin f his music necessary (Ck, 1998; Grut & Palisca, 2001[1994]). It was cmmnly understd, that ne shuld understand Beethvens wrk befre it culd be fully appreciated. Kramer (2007) adds that this applies t all classical music. He argues that music trains the ear and that classical music trains the ear t listen t it with a peculiar awareness. Raffman (1988) states that this training ccurs quite uncnsciusly 14

15 by just listening t the music and that its musical grammar will be stred in the listener s head. It is assumed thugh, that classical music training is mre cmplex than ther frms f music, e.g. ppular music (Alexander, 2003). Classical music wants t be explred, nt just heard. Beethven changed music, presumably due t his deafness and therefre his exclusin f the scial wrld. He redefined music as the expressin f deeply persnal and intrspective feelings, rather than cmpsing accrding t bjective laws and rules f harmny (Bentn & DiYanni, 2012; Grut & Palisca, [1994] 2001). Currently, classical music is referred t music f the big cmpsers, such as Haydn, Mzart, Bach, Brahms and f curse Beethven (Betn & DiYanni, 2012; Grut & Palisca, 2001 [1994]), and still belngs t cannized wrks, als indicated as a frm f high art. It can be questined thugh, whether this relates t the music itself, r t the perceptin f classical music. The risk f this perceptin f classical music as a frm f high art, is that it indicates a barrier in itself, as it might be perceived as music fr the happy few. 3.2.Classical music cncerts Classical music cncerts are, s claims Ck (1998), the mst spectacular way f experiencing this music. Ck cmpares entering a cncert hall with entering a cathedral. One enters a wrld, which is literally separated frm the utside wrld, with strict audience etiquette. Peple need t sit still, remain quiet during the music perfrmance and are nly allwed t applaud after the full mvement. Als the perfrmers are bund t sme rules, fr instance dress cdes fr the whle rchestra and slists usually play frm memry. This almst sacred atmsphere, cntradicts with cntemprary ideas f what a spectacle shuld lk like. This can be supprted with the finding that ppular frms f culture, such as pp cncerts and film, are attended mre ften than high culture activities as fr instance classical music cncerts (Abbing, 2009; Van den Brek, 2013). Becker (1982) states that cnventins, such as these audience etiquette arund classical music cncerts are nt appreciated by all peple. They might even be perceived as a cnstraint (Kay, Wng & Plnsky, 2009; Rse, 2010). Accrding t Abbing (2009), Idema (2012) and Kramer (2007) these cnventins are ne f the reasns why less and less peple attend classical music cncerts. Sciety has becme mre infrmal, yet the rules in the cncert hall are still the (frmal) same. 15

16 Classical music cncerts as described abve, have nt always been like this. In early Renaissance, music was a rather nrmal part f life (Betn & DiYanni, 2012). Playing music, prvided entertainment fr everybdy: it was embedded in sciety. There was nt such a strict separatin between perfrmers and audience. Only since the perid f Enlightenment, when cncert halls were built, a distinctin between prducers and cnsumers ccurred (Ck, 1998). Nt nly a distinctin between prducers and cnsumers has been made, als a divisin f middle and higher classes became apparent (DiMaggi, 1998; Kramer, 2007). Accrding t Dewey (2005 [1934]) art is remved frm its daily cntext, which created a scial gap between the aesthetic and the nrmal experience. One may wnder whether nn-attendance f classical music cncerts wuld have been an issue if this gap had nt ccurred. Literally, because cncerts are nw (usually) inside and peple need t pay fr them, peple might feel (financially) cnstrained t attend them. Besides, classical music is perceived as a high frm f culture, and therefre nt seen as music t be appreciated by all members f sciety (Kramer, 2007). This cntradicts with current cultural plicies, which instruct cultural institutes t make culture accessible fr all member in sciety. Being unfamiliar with the music and its cnventins may be perceived as a cnstraint fr attending classical music cncerts (Dbsn, 2010; Kay, Wng & Plnsky, 2009). In her study n experiences f nn-attenders at live classical music cncerts, Dbsn (2010) revealed that nnattenders felt, that special knwledge was needed in rder t fully appreciate a classical music perfrmance. Once respndents did nt enjy the music, they still felt mrally bligated t like it as classical music is perfect by nature, s they thught. Anther finding f Dbsn shwed that nnattenders experienced difficulties with shwing their appreciatin f the music, the etiquette in the cncert hall. This wuld indicate that classical music cncerts indeed cnstrain inexperienced attenders t fully appreciate it in its current frm. Despite these findings n cnstraints fr attending classical music cncerts, fundamental knwledge abut cultural cnsumptin in general, and perceived cnstraints fr classical music cncerts within the grup f nn-visitrs is lacking (Van den Brek, 2013). A better understanding is needed thugh, t nt nly bridge the gap between prspective audience and classical music, but als t understand scietal changes in cultural participatin. A tl t explre behavir f nnvisitrs is t reveal cnstraints peple specify fr classical music cncerts. 16

17 3.3.Cnstraints Peple that belng t the grup f nn-visitrs in cultural activities, apparently experience cnstraints in participating. In several studies mre r less similar (categries f) cnstraints are identified. Kelly and Gdbey (1992), wh can be seen as funders f cnstraints theries, divide cnstraints in three types: intrapersnal, interpersnal and structural cnstraints. Intrapersnal cnstraints refer t individual psychlgical characteristics, fr example perceived self-skill. In ther wrds, a persn wuld questin whether he/she is the right public, wuld he/she have enugh knwledge fr that particular activity. These intrapersnal cnstraints influence a persn s leisure preferences. In Burdieu-terms these kind f cnstraints culd be related t habitus, a cllectin f values and expectatins a persn has, which reflect in a lifestyle a persn has (Burdieu, 1984). Accrding t the study dne by Rtterdam Festivals (2012) this intrapersnal cnstraint cncerns cmpetence: peple questin whether they have sufficient knwledge fr participatin in a certain activity. Interpersnal cnstraints cncern relatinal aspects. Peple wuld ask themselves, fr example, wh they culd g with. An interpersnal cnstraint can als refer t the fact that friends d nt attend a certain activity either. Interpersnal cnstraints can be related t the amunt f scial capital a persn has. It is knwn that scial netwrks influence the chices peple make, fr instance in the kind f leisure activities they undertake. And then structural cnstraints relate t family bligatins, limited financial resurces, time and transprtatin. Structural cnstraints are influenced by scial class and the amunt f ecnmic capital a persn has (Gdbey, Crawfrd & Shen, 2010). These kind f structural cnstraints are recgnized by Rtterdam Festivals (2012) as well, but are then addressed as practical barriers. Althugh experienced cnstraints might lead t nn-participatin, accrding t Kelly and Gdbey (1992) it is nt the nly factr that influences chices in leisure activities. Participatin in leisure depends n the utcme f negtiatin amng perceived cnstraints. Nn-participatin ccurs when intrapersnal, interpersnal r structural cnstraints are strnger than the desire (mtivatins) t participate in (cultural) leisure activities. In Figure 1 a visual presentatin f this negtiatin prcess is shwn. In this figure yu can see that intrapersnal cnstraints and mtivatins lead t certain leisure preferences. Accrding t Kelly and Gdbey, the first negtiatin takes place n a persnal level. The next step wuld be t see whether persnal preferences meet preferences f ther peple in a persn s scial netwrk, fllwed by the mre practical structural 17

18 cnstraints. This negtiatin prcess leads t (nn-)participatin. Figure 1. The hierarchical mdel f leisure cnstraints (Jacksn, Crawfrd & Gdbey, 1993) These three main categries f cnstraints that Kelly and Gdbey (1992) identified, are refined by Kay, Wng and Plnsky (2009). Via thematic cntent analysis they have gathered infrmatin n cnstraints in the fields f arts and culture, leisure studies, marketing, turism and events. Based n their analysis, they detected eight different barriers. Physical access barriers: access t lcatin, difficult t get t, public transprtatin r t difficult t rganize a visit. Then Persnal access: nt feeling cmfrtable t attend, nt entertaining r wuld nt expected t be fun. Secndly, family circumstances, disabilities r health issues, time issues (nt cnvenient), culd nt g alne and dn t knw wh t g with. The third is csts: participatin is cnsidered t expensive and ne is nt sure whether it is wrth spending mney n it. Cnstraint fur is time and timing: peple s time is limited, and cultural things have a lw pririty, they have better things t d. The cnstraints time and csts are clsely related. The fifth ne is prduct: this cnstraint cncerns the quality f the prduct itself r is the prduct perceives as: nt fr me. Then, persnal interest and peer grup: many peple think that cultural institutins have smething t ffer that meets their interest, r think that attendance des nt reflect their identity. Anther factr f influence is whether their peers wuld visit r nt. Wuld it be the right thing t d? In this sense, peers can be a facilitatr as well as a barrier: peple wuld g because their friends are als ging. A next cnstraint wuld be scializatin and understanding: nnattenders perceive sme cultural institutins are nt fr them, as they might nt really understand it. The final cnstraint that Kay, Wng and Plnsky (2009) identified is infrmatin: lacking 18

19 infrmatin n the attractins, when it is, what is ging n. Infrmatin needs t be given in such a way that visitrs can understand it. These eight cnstraints can be assigned t three main categries: external/situatinal factrs, prduct specific factrs and persnal factrs. All three categries influence, t a certain extent, the decisin whether t participate r nt. As cnstraints seem t be negtiable in the prcess f decisin making, this wuld imply that cnstraints that threat participatin, can be vercme (Jacksn, Crawfrd & Gdbey, 1992). Cnstraints are nt static and are thus changeable. They actively shape ur leisure expressin and as a result cnstraints can als be used t explain changing trends in sciety. Cnstraints d nt necessarily lead t nn-attendance. B, Carruthers and Busser (2014) discvered that a distinctin has t be made between peple that are interested t participate in a certain activity and peple that are nt. They revealed that disinterested nn-participants are less likely t attempt negtiatins. Besides this finding, B, Carruthers and Busser (2014) fund that peple wh perceived infrmatin abut an activity as inadequate, r wh thught the activity was nt fr them, will nt try t vercme these cnstraints. Furthermre, it is discvered that this grup experiences greater interpersnal, intrapersnal and structural cnstraints. As Van den Brek (2013) als claims, fcus n interested nn-attenders wuld therefre make mre sense, as apparent cnstraints are mre likely t be negtiated. What is currently knwn abut audiences and cnstraints they experience (B, Carruthers & Busser, 2014; Gdbey & Kelly, 1992; Gdbey, Crawfrd & Shen, 2010; Kay, Wng and Plnskey, 2009; Samdahl & Jekubvich, 1997), is based n a brad scpe f cultural activities, whereas I want t explre the cnstraints peple indicate slely fr classical music cncerts. As cnstraints seem t be dynamic, t a certain extent, it is expected that sme refinements f current understandings can be made. 3.4.Leisure behavir and mtives Figure 1 in the previus paragraph shws that nt nly cnstraints, but als mtives influence participatin. Ging t a museum, a film, a festival r a cncert are all frms f cultural leisure participatin. Fr the Rtterdam Philharmnic Orchestra (RPhO), fcus shuld be n peple that undertake these kind f ut-f-hme leisure activities fr at least three times a year. Peple that already participate in cultural activities, are mre likely t attend ther activities as well (Page & 19

20 Cnnell, 2010). RPhO sees the grup f prspects r ptential visitrs as peple that participate in cultural activities at least three times a year. Where prspects have nt chsen fr the RPhO (yet), it is interesting t nt nly learn abut cnstraints, but als abut mtives these prspects find in leisure. Mulder (2011) explains that participating in cultural activities can cme frm different mtivatins. Fr instance, a mtivatin can be intellectual develpment and educatin, which applies especially t the higher frms f culture, such as museum visits and classical music attendance. In the lwer frms f culture, e.g. visiting a pp cncert, the mtivatin fr leisure is mre related t getting away frm the daily cncerns, escaping the daily life. Thus, a chice depends n which mtivatins smene has, develping r relaxing. Other dimensins that play a rle are mtivatins that fcus n individual needs versus scial needs (Mulder, 2011). Higher frms f culture tend t relate t individual needs. In the case f classical music cncerts, at least in the way hw they are currently presented, this culd refer t the rather strict etiquette in the cncert hall. As everybdy need t sit still and be quiet, such cncerts are nt s much seen as a scial activity. Witlx, Van der Hest and Huisman (2014), fund the fllwing needs, mentined by brand lvers, cherry pickers and prspects. First f all, it is indicated that after a wrking day, watching TV is preferred ver ging a night ut, especially during week days. This wuld refer t a need f relaxatin. A secnd need is ging ut with friends, which might be translated as a need fr scializatin in a gd atmsphere with nice cmpany. The aim f this thesis it t find ut the specific mtivatins in cultural activities within the grup f prspects. Once the kind f needs, in cmbinatin with the perceived cnstraints within this grup f ptential classical music attenders is knwn, the black bx is pened up a little bit mre and enables me t answer the research questins. Time fr spending n leisure is limited, and the ffer in leisure has grwn a lt ver the years (Mulder, 2011; Page & Cnnell, 2010). Accrding t the Sciaal Cultureel Planbureau (SCP), the Dutch ppulatin spent 13,5 hurs per week n recreatinal and relaxing activities in 2011 ( Recreatinal activities refer t visits t: museums, family parks, zs, festivals, theatres, but als sprts and relaxing belng t this categry. Peple cannt take part in all leisure activities, therefre chices will have t be made. T gain an insight int what cnditins need t be met t enjy leisure, understanding abut the rigins f thse cnditins is needed. What can be learned frm the infrmatin n mtivatins fr leisure is that different needs are fulfilled in attending high r ppular frms f culture. 20

21 3.5.Cultural participatin Abve is shwn that participatin in cultural leisure has t d with chices peple make. Thse chices are based n cnstraints, which can be intrapersnal, interpersnal r structural accrding t Kelly and Gdbey (1992) r external, prduct specific r persnal (Kay, Wng & Plnsky, 2009), but als have t d with mtivatins fr leisure (Mulder, 2011). When lked at the persnal r intrapersnal cnstraints, peple experience cnstraints related t knwledge r perceived self-skill. Accrding t Burdieu (1984), this perceived self-skill can be related t three frms f capital which might influence cultural taste and participatin. First ecnmic capital, which invlves the amunt f mney that can be spend by smene and als includes ther frms f material belngings. This frm f capital is clsely related t the sciecnmic situatin f smene. If a persn is brn and raised in a prsperus family, then his amunt f ecnmic capital is prbably higher than smene brn and raised in a s-called lwer class family. The secnd frm f capital is scial capital, which shws the netwrk and scial cntacts a persn has. Netwrks are nt static and change ver the years. The bigger the netwrk f scial relatins, the higher the amunt f scial capital is. The final frm f capital is cultural capital, which has t d with ne s level f educatin, knwledge, skills and experiences. A high educated persn is mre likely t have a bigger amunt f cultural capital. As classical music is recgnized as a frm f high art, a certain amunt f (cultural) capital seems t be, accrding t Burdieu, a precnditin t appreciate this mre cmplex frm f art (Rse, Van Eijck & Lievens, 2012; Van den Brek, 2013). This culd imply that the sum f these frms f capital, r the lack f it, might wrk as a ([intra]persnal) barrier fr attending classical music cncerts. In The Netherlands, peple in the age f sixteen and lder seem t be mre interested in ppular frms f art, such as cabaret, film and pp music rather than cannised, classical music, visual arts, literature and dance frms (Van den Brek, 2013). In percentages it is respectively 82% and 53%. T put this fact in a psitive light, it wuld mean that the grup f ptential audience fr classical music cncerts is bigger than the ptential audience fr ppular art frms. This thesis fcuses n classical music cncerts, a cannised art frm, thus n the grup with mst ptential, at least in numbers. Different studies draw t mre r less the same cnclusin, namely that the grup f participants in classical music cncerts is smaller than the grup f nnattenders (Rtterdam Festivals, 2012; Van den Brek, 2013). In the view f Rtterdam Festivals and RPhO, everybdy can be seen as ptential audience. But B, Carruthers and Busser (2014) and 21

22 Van den Brek (2013) claim that a distinctin between interested and nt interested nn-visitrs shuld be made. Accrding t Van den Brek (2013), slely the interested nn-visitrs are ptential audience. Being interested des, hwever, nt necessarily lead t attendance. In their pilt-study with peple unfamiliar with classical music cncerts, Van Eijck, Van Bree and Derickx (2010) fund ut that even thugh peple think mre psitively abut classical music cncerts after attending a cncert, this des nt necessarily make them regular visitrs. Research dne by Witlx, Van der Hest and Huisman (2014) shws that (nn)participants f the Rtterdam Philharmnic Orchestra can be divided in brand lvers, cherry pickers and prspects. These grups seem t belng t different cultural prfiles, with different attitudes twards visiting classical music cncerts. The brand lver represents the audience that visit cncerts n a regular basis, n average seven times per seasn. In their leisure time they mainly d activities that can be cnsidered as high culture, which fulfills the needs f getting sme rest, persnal develpment and reflectin. These brand lvers are quite knwledgeable regarding classical music and they are lyal t their rchestra. The chice f cncerts they intend t visit, is based n the prgramme that is ffered and the selectin is made as sn as it is annunced. Furthermre this grup is keen n the happy few feeling and f a certain exclusiveness. Presumably, this grup has a high amunt f cultural capital (Burdieu, 1984), because they have a lt f knwledge abut the music, but als abut the etiquette that ges alng with it. Rse (2008) wuld cnsider this part f the audience the inner circle. The secnd grup, cherry pickers, have a mre spread range f leisure activities. Yet, the fcus is als n high culture, such as theatre, museums, art films and festivals. They visit classical music cncerts, but nt n a regular basis. Cherries fr this grup are the mre well-knwn wrks. Althugh they are familiar with classical music, they are nt s fnd f the atmsphere that belngs t it. Hence, Cherry pickers are actively lking fr infrmatin fr cncerts f their taste. Furthermre they search fr a gd ambiance and gd cmpany, new experiences and flexibility. These characteristics, cncluded frm the study dne by Witlx, Van der Hest and Huisman (2014), can be linked t the thery f cultural mnivres (Petersn, 1992). Cultural mnivres have a lt f cultural capital. Nevertheless, they d nt limit themselves slely t highbrw activities: the mnivre als cnsumes ppular frms f art, such as ppular music, film and cabaret. The third grup is labeled as the prspects, the grup f peple that might be the future cherry pickers r even brand lvers. They seem t have the bradest scpe in chsing leisure activities, including lwbrw cultural activities, such as family parks and ging t blck buster films. Mst imprtant t them is t d events tgether, with family r friends. Even thugh they 22

23 may have a certain affinity with classical music, they experience sme barriers, which might restrain them frm actively lking fr infrmatin abut cncerts. Key values fr this grup are bnding, making cnnectins and sharing experiences. The grup f prspects, r light users, is the grup that this research prject is fcused n, as they have ptential in becming visitrs. The fcus f the research described in this thesis is n getting a better insight int the mtivatins and cnstraints f this specific grup. In the next chapter I describe which methds I used t get t knw the current leisure participatin and the perceived cnstraints f prspects. 23

24 4. Methds and Data This sectin f the prpsal gives an verview f which data are cllected and which methds are used. The first part describes what kind f data are needed t answer the research questins and in the secnd part an verview f the used methds is given. 4.1.Data cllectin A lt f infrmatin n audiences that visit classical cncerts is knwn (Barlw & Shibli, 2007;Rse, 2008; Van den Brek & de Rij, 2013), but this des nt apply t the nn-visitrs. It is knwn that nn-attenders are nt mtivated t attend classical music cncerts, but what the exact cnstraints fr this grup are, is nt identified. Besides a lack f knwledge abut cnstraints peple experience, it is als nt clear what mtivates peple in Rijnmnd regin t participate in cultural activities in their leisure time. Infrmatin abut bth aspects are needed because cultural participatin is, amng ther aspects, a result f a negtiatin prcess between mtivatins and cnstraints. In rder t answer the central questin f this research prject, T what extent d nnvisitrs f classical music cncerts in the Rijnmnd regin experience cnstraints fr attending cncerts f the Rtterdam Philharmnic Orchestra?, a survey has been dne, which resulted in ne hundred and eight respndents (N=108). Rtterdam Philharmnic Orchestra (RPhO) describes prspects as peple that undertake cultural activities at least three times a year, but d nt visit cncerts f RPhO. All ne hundred and eight respndents, met this criterin. In rder t get t knw the prspects, fcus was put n sci demgraphics, such as age, sex, level f educatin and mney t spend n leisure. Besides, it seemed als relevant t ask them abut the kind and frequency f cultural activities (e.g. ging t the cinema, theatre, museum r a cncert) they participate in and what mtivatins they indicate fr participating in these activities. A mre general tpic wuld be leisure behavir; what are peple lking fr in their leisure time. Is leisure mainly used t relax r are peple lking fr mre intellectual experiences (Mulder, 2011). If peple are mtivated t participate in certain activities, then they might experience cnstraints in ther activities. Via this survey it was aimed t map these mtivatins and cnstraints fr leisure activities fr this sample in the Rijnmnd regin, t either cnfirm r discnfirm existing theries (Van den Brek, 2013; Van den Brek & De Rij, 2013). This was dne via a questinnaire with clsed questins mainly. 24

25 Next t the aim f gaining an insight int the leisure behavir f the sample, the survey served a mre instrumental gal, namely selecting interviewees. It is assumed that mainly peple that are culturally active, can be seen as ptential classical cncert visitrs (Van den Brek & de Rij, 2013; Witlx, Van der Hest & Huisman, 2014). Fr the next phase f the research, the qualitative part, sme peple that filled in the questinnaire were selected. Respndents that d nt visit cncerts f the Rtterdam Philharmnic Orchestra, but are seen as ptential visitrs (Van der Brek & De Rij, 2013; Witlx et al., 2014) were asked whether they wanted t participate in an in-depth interview. Thrugh these interviews it is researched what kind f cnstraints peple mentin that keep them frm attending classical music cncerts. This qualitative way f research was aimed at finding ut which cnstraints are applicable t this grup. In depth interviews gave participants an pprtunity t express in their wn wrds what keeps them frm attending. As explained in the chapter n theretical fundatin f this prject, cnstraints can be divided in several categries; structural, interpersnal and intrapersnal cnstraints (B, Carruthers & Busser, 2014; Kelly & Gdbey, 1992). Kay, Wng & Plnsky (2009) even identified eight themes, namely, physical access, time and timing, persnal access, cst, prduct, persnal interest and peer grup, scializatin and understanding, and infrmatin. By means f in depth interviews, I clarified whether these kind f cnstraints apply t the nn-attenders f the Rtterdam Philharmnic Orchestra. Furthermre, I lked fr additinal cnstraints. Cnstraints categries mentined abve apply t cultural activities in general, nt t classical music cncerts nly. Therefre I expect t refine these current understandings abut cnstraints, because the explicit fcus n classical music cncerts. Fr the interview tpic list, it was taken int accunt that in general peple are nt that willing t talk abut what they d nt undertake (B, Carruthers & Busser, 2014). It is mre likely that they want t talk abut the activities they like t d in their leisure time. Therefre, peple were asked t talk abut cultural activities they attend, and why. Only in a later stage the tpic turned int activities they d nt attend, and why.this apprach validates this thesis, as it prevents peple frm giving scial desirable answers (Bryman, 2012). The tpic list and the questinnaire can be fund in appendices 1 and 2. While discussing mtives and cultural activities, interviewees were in additin asked t rank the imprtance f these needs in leisure and the cultural activities they undertake. The mst preferred mtives and activities were ranked in a high psitin, less favred nes ended up lwer. Interviewees culd add mtives r activities themselves in case they felt the list f cards was nt 25

26 cmplete. The cards with mtives stated: Gezelligheid met.; acquiring knwledge; unfrgettable experience; being inspired; escaping daily life; relaxatin; spending time with and diversin. Fr the cards with activities, nine cultural utings were stated n the cards. Sme cards represented high culture activities and sme activities that are usually recgnized as lw culture activities. This distinctin f activities was nt explicitly mentined thugh. Activities n the cards were: film; festival; pp cncert; cabaret; classical music cncert; dance; pera and a play. While ranking cultural activities, the classical music cncert-card usually ended up quite lw in the ranking, which resulted in a natural bridge t the main tpic: cnstraints peple experience fr nt attending classical music cncerts. Then the cnversatin quite naturally turned int the main fcus f this thesis; finding ut abut cnstraints fr visiting classical music cncerts. While explring which cnstraints play a rle, interviewees were nt nly asked abut it, but were again given the task t rank cnstraints. Sme cards were prepared fr this, which mentined the fllwing wrds and shrt statements: I dn t ntice the infrmatin, t frmal, It just desn t happen, I am nt used t it, I dn t have the knwledge, friends dn t g either, takes t lng, I dn t feel at hme, bring, I dn t like the music. When a certain cnstraint had been indicated as an imprtant factr fr nt attending classical music cncerts, a card was placed in a high psitin. The lwer the card was placed the less relevant this cnstraint was fr that persn. Interviewees were als allwed t put cards aside if nt applicable at all, r t lay dwn cards n an equal level. 4.2.Methds As mentined, tw ways f data cllectin were used. This mixed-methds (Gilbert, 2008; Bryman, 2012), are used t quantify the grup f ptential visitrs. The results f the survey and the interviews were used t see whether existing theries n cnstraints can be refined. Furthermre, an attempt has been made t differentiate the, t date, hmgeneus grup f nn-visitrs (Van den Brek, 2013). Data cllectin was carried ut in tw (almst) subsequent phases. First, quantitative data were cllected frm the beginning f February until the middle f March. Questinnaires, made in qualtrics.cm, were spread nline, via the snwball-methd (Bryman, 2012). The reasn fr using the snwball-methd is that there was n access t a database that culd have been used fr this survey (Gilbert, 2008). The starting pint was my prfessinal and nn-prfessinal netwrk, that 26

27 live in the Rijnmnd regin. Peple I knw were asked whether they wanted t fill in the questinnaire, and t send it t peple they knw, and s n. One f the requirements was that all peple shuld live in the Rijnmnd regin. Anther requirement was that they shuld nt be cuch ptates, meaning that they d take part in cultural activities at least three times a year, s they apply t the categry f prspects r ptential visitrs. Next t the nline surveys, face-t-face surveys were dne in Rtterdam, near the library in the city centre. This seemed t be a gd lcatin, as it was fund ut that in % f the Rtterdam ppulatin uses the library (Rtterdam Festivals, 2012). Even thugh the ppulatin f Rtterdam is very diverse (Rtterdam Festivals, 2012), respndents that filled ut the questinnaire mainly had a Dutch backgrund and were mstly highly educated. The characterizatins f the sample are shwn in the Results and analysis chapter (Figure 2 and 3). The secnd part f this research prject cnsisted f in-depth interviews. In the final questin in the questinnaire, participants were asked whether they wanted t take part in a fllw-up interview. These interviews, ten in ttal were dne in March and April. Interviews were dne in a semi-structured way (Baarda, van der Hulst & de Gede, 2012; Bryman, 2012). This means that the main questins were asked in a fixed rder and in a similar way. Thse tpics were als put in the interview schedule and were used as fllw up questin in case the tpic was nt addressed by the interviewee. All interviews were recrded, interviewees were asked fr permissin in advance. All f them were fine with the recrding. After each interview transcriptins were made. Cllected data, utcmes f the surveys, face-t-face plus nline, and the cded transcripts were analyzed in tw different ways. The first part, quantitative data, were mapped with the help f SPSS. The main gal f the quantitative part, was gaining an insight int the size f the grup f nn-visitrs that might turn int visitrs f classical music cncerts in Rijnmnd regin. Therefre frequency tables were made; age grups, level f educatin, sex and mney t spend n leisure. Besides these sci-demgraphics, als leisure activities and mtivatins fr leisure are mapped and presented in frequency tables in chapter 5. The qualitative data, the transcripts, were cded by means f Atlas.ti (Gilbert, 2008). In the cding prcess the fcus was n mtivatins and cnstraints fr cultural leisure participatin. Wrds related t interests, friends, family, infrmatin, accessibility, either in a psitive (mtivatins) r less psitive (cnstraints) cnntatin, were analyzed. Results f this prcess are presented in the next chapter. 27

28 Number f respndents Number f respndents 5. Results and analysis In this chapter I present findings frm the quantitative and qualitative part f this study. The infrmatin in paragraph answers the first research questin: What sci demgraphic characteristics apply t the grup f prspective visitrs and what needs and wants d they indicate in leisure? Paragraph 5.4. describes and explains the cnstraints these samples indicate fr visiting classical music cncerts Sci demgraphics Respndents f the quantitative part f the study (survey) can be seen as prspective attenders f classical music, because they attend ther cultural activities (even thugh classical music cncerts are nt included). Figures 2 and 3 belw the prspects sci demgraphics and characteristics f the sample. Mainly highly educated peple (61%) respnded t the questinnaire. The age grup f years ld is clearly a majrity, in the sample f the prspects, fllwed by the age grup f years ld. Figure 3 shws the amunt f mney peple are able t spend n leisure. Almst 25% can spend between 50 and 100 eur n leisure and anther 25% spends between 100 and 250 eur per mnth. Furthermre, peple are wrking, either full time r part time, r are studying. The variance in ccupatins, prbably explains the reprted differences in mney spent n leisure activities. Divisin men and wmen Men Wmen 29% Age f respndents in grups % Figure 2. Divisin men and wmen / Age f respndents in grups / Level f educatin (N=108) Level f educatin LBO / VMBO / MAVO HAVO VWO MBO HBO WO Smething else... 28

29 Number f respndents Number f respndents Amunt f mney that can be spend n leisure per mnth < 50 eur eur 40 Main daily activities paid jb (full time) studying eur eur eur > 750 eur dn't knw dn't want t share paid jb (part time) in search fr a jb unpaid internship paid internship smething else.. Figure 3. Mney that can be spend n leisure / Main daily activities (N=108) The figures presented abve, apply t the quantitative data nly. Apart frm these ne hundred and eight respndents, a sample f ten peple participated in the qualitative part f this study. This sample is divided in age grups; (20-29; 30-39; 40-49; 50-59; 60-69). Per age grup, I interviewed ne man and ne wman. A brad age sample shuld give a balanced picture f their pinins and views. In the qualitative sample, the level f educatin is als high: nine ut f ten study r wrk n at least higher prfessinal level. Althugh it was intended t interview peple in different age grups, fr level f educatin it just ccurred n basis f availability f interviewees. The yungest age grup (20-29) hlds tw students (higher educatin). Three interviewees d nt wrk tw f them are retired (age grup f 60-69) and ne wmen is unemplyed. Cultural educatin is recgnized as an imprtant factr when it cmes t cultural participatin. Therefre, respndents were asked abut the (cultural) leisure activities they participated in their childhd. Only ne f the respndents, a 54 years ld wman, mentined that classical music played a prminent rle in her yuth. Three respndents have cme in cntact with classical music, althugh nt n a structural basis, but fr instance thrugh a schl prject during their primary schl perid. Table 1 gives an verview f sci demgraphics f peple that are interviewed 29

30 Table 1. General infrmatin abut the sample interviewees age grup sex male female male female male female male female male female age residence Rtterdam Ostvrne Rtterdam Rtterdam Rtterdam Rtterdam Rtterdam Rtterdam Rtterdam Schiedam level f educatin daily activities playing instrument current family situatin brught up with classical music university HBO university HBO HBO HBO university university HBO MBO studying part time full time part time full time unemplyed jb jb jb jb full time full time retired retired jb jb n guitar n n (used t n n n n n (a little) play) drums lives tgether with girlfriend lives with parents yung family yung family lives tgether with girlfriend lives alne married, teenage children married, teenage children married married n n a little n a little a little n yes n n Frm this glbal picture f the prspective visitrs can be cncluded, that bth samples mainly cnsist f highly educated peple. In the quantitative sample wmen are ver represented in the survey, in the qualitative part men and wmen are equally divided. In bth samples, the majrity f peple are wrking r studying. Better knwledge abut the cultural participatin and the mtivatins f the prspects fr leisure is given in the next paragraphs. 5.2.Leisure activities As mentined earlier, the Rtterdam Philharmnic Orchestra (RPhO), sees all peple that live in Rijnmnd regin as their ptential visitrs. The aim f this research is twfld: besides t understand the cnstraints peple experience fr visiting classical music cncerts, this study als 30

31 aims at getting t knw the prspective visitrs. Because, they d nt visit classical music cncerts n a regular basis, it might be useful t investigate which cultural activities they d participate in. Pssibly, taste patterns can be revealed which culd explain why peple nt attend classical music Cultural leisure activities In rder t get t knw prspects better, I present their preferred leisure activities, based n the quantitative as well as the qualitative data in this paragraph. It shuld be mentined that the questins asked in the questinnaire were slightly different frm questins in the interview. In the questinnaire peple were explicitly asked fr the number f times they went t, fr instance, a film in the past twelve mnths, whereas the questin in the interview was a bit mre generally stated, as in what the preferred activity is. And a favred activity is nt always the same as actually participating in that activity, which is already explained in the theretical framewrk (Van den Brek & De Rij, 2013). In the fllwing figures, I present the number f times a visit has been paid per cultural activity (based n 108 respndents that participated in the quantitative part f the study). The figures are presented in rder f ppularity. Outcmes n classical music are presented in a separate paragraph (5.2.3.). Based n the results frm the questinnaire, it is clear that film is indicated as the mst ppular cultural activity. It is the nly activity f which almst half f the sample reprt that they went five times r mre t the cinema, in the past twelve mnths. In cmparisn t ther activities film is quite accessible; it is cheap, easy t arrange and widely available, which I cnsider t be an explanatin f the attractiveness f this activity. The increasing number f visitrs f film is supprted by several studies n cultural participatin (Rtterdam Festivals, 2012; Van den Brek, 2013). 31

32 Number f respndents Number f respndents Number f respndents Number f respndents Number f respndents Number f respndents Number f times a FILM has been visited in the past 12 mnths x 1x 2x 3x 4x 5x > 5x dn't knw Number f times a MUSEUM has been visited in the past 12 mnths x 1x 2x 3x 4x 5x > 5x dn't knw Number f times a POP CONCERT has been visited in the past 12 mnths x 1x 2x 3x 4x 5x > 5x dn't knw Number f times a FESTIVAL has been visited in the past 12 mnths x 1x 2x 3x 4x 5x > 5x dn't knw Number f times CABARET has been visited in the past 12 mnths 0x 1x 2x 3x 4x > 5x dn't knw Number f times a PLAY has been visited in the past 12 mnths x 1x 2x 3x 4x > 5x dn't knw 32

33 Number f respndents Number f respndents Number f times a MUSICAL has been visited in the past 12 mnths 0x Number f times an OPERA has been visited in the past 12 mnths 0x x 2x 3x > 5x dn't knw x 2x 3x 5x > 5x dn't knw Figure 4. Number f times cultural activities have been visited in the past 12 mnths (N=108) Film is als indicated as a preferred leisure activity amng the ten interviewees. When lked at the ranking f the cards with cultural activities, which were presented during the interviews, five peple ranked film as the number ne activity and three peple psitined film as number tw. Anther cultural activity that prspects value, is visiting a museum. Visiting museums has als attracted a lt mre visitrs in recent years (Van den Brek, 2013). In the interviews, seven interviewees ranked a museum visit in their tp three list (see Table 2.) Bth samples clearly prefer ging t the cinema as a cultural leisure activity. The ranking f the ther cultural activities is almst dne equally in bth samples, which means that the tp 3 cnsists f; film, pp cncert and museum. At the bttm f the list respndents ranked the cultural activities in a similar rder as well. This means that classical music is nt a preferred activity amng them. The cmplete verview f activities, ranked by the interviewees, is presented frm mst preferred t least preferred activities in Table 2. 33

34 Table 2. Preferred cultural activities ranked by interviewees. Number 1 is indicated as mst ppular activity. age grup Preferred activities M - 24 F - 21 M - 36 F - 32 M - 44 F - 43 M - 50 F - 54 M - 60 F - 64 film pp cncert museum festival cabaret play dance classical music cncert pera Favred activities The ppularity f museums and films can, accrding t the interviewees, be explained by the fact that there is n need t plan them ahead. Museum and film have in cmmn that tickets d nt have t be bked in advance. The qutes belw, shw that film is indeed s ppular because it is an activity that can be decided upn the same day. Fr mst peple this seems an imprtant aspect, as they mentined that they d nt like t plan ahead. [ ] ging t a film just happens mre ften, because it is easier t arrange n a shrt ntice (wman, 54) [ ] [ ] and I dn t like t plan my activities. I dn t want t buy a ticket fr a cncert, fr instance, which nly takes place next week. Or t bk a hliday fr ver three mnths (man, 36) [ ] 34

35 [ ] Q: Ok... the accessibility yu mentined, d yu mean in time? A: Yes yes. Q: S, yu are nt referring t the cntent f the film. Yu relate it t the fact that yu d nt have t plan a visit t the cinema ahead. Is that what yu are saying? A: Yes, exactly. (man, 50) [ ] Museum is als mentined as a ppular activity. It is remarkable that the majrity f the qualitative sample mentined visiting a museum as a part f their unexpected day ff. Mst f the times arts museums were said t be part f an unexpected day ff. Belw sme qutes that supprt these findings. * + when I want t d smething in my leisure time, it is either film r a museum. (man, 24) * + [ ] I like t visit all kind f museums, but I like mdern art the mst. (wman, 21) [ ] * + eh.. in the afternn. eh.. maybe a nice museum I like phtgraphy a lt, s maybe an exhibitin in the pht museum... (wman, 43) * + [ ] and, actually, I find it especially nw I have a Museum Card that enables me t g t the Bymans Museum in a spare hur.. It gives me a kind rich feeling that I can just g in there (man, 44) [ ] Anther ntable finding is that half f the respndents indicated that ging t a museum is nt smething they have been brught up with: they have discvered by themselves that visiting museums is an interesting cultural activity. They claim these visits bring them new knwledge and inspiratin, which culd indicate that peple are pen t discver new activities. [ ] Q: Was ging t a museum a cmmn activity t d in yur yuth? A: N, we never did that. Althugh my brther Tn, did. He just went by himself. (wman, 64) [ ] 35

36 [ ] because at a certain mment I have decided t explre museums, even thugh it is nt smething that my family r friends d a lt. I am a lner in this (man, 24) [ ] The fund high frequency f film attendance and museum visits, shw that peple have a tendency t chse fr easy accessible cultural activities, withut planning ahead, which has explicitly been mentined. Anther reasn culd be that film and museums are widely available, suitable fr all ages, and are cheaper than mst ther cultural activities. My research shws that within the activities that are usually recgnized as high culture activities (classical music cncerts, pera, play and dance), the number f visits paid, except fr museums, is rather lw. Especially, visiting classical music cncerts and pera is hardly ever dne (see Figure 4 and 5). This is ntewrthy, as the majrity f the respndents is highly educated, and is willing t spend quite sme mney n their leisure activities, which culd indicate the presence f cultural and ecnmic capital. High culture activities usually have been assciated with activities fr higher educated peple mainly, and attending ppular culture activities with less educated peple (Burdieu, 1984). Results nw shw that cultural participatin is mre difficult t predict based n the amunt f capital peple have Classical music cncert In bth samples, classical music cncerts ended up in the sectin f the least favred activities. Whereas visiting a museum is mentined spntaneusly when I asked abut favrite activities n an unexpected day ff, this never ccurred with classical music cncerts. In the quantitative part f my research, arund 75% f the respndents reprted that attending classical music cncerts did nt ccur in the past twelve mnths (see Figure 5). In Table 2, in which results f the ranked cards (during the interviews) f preferred cultural activities are presented, clearly shws that classical music cncerts are nt part f the favrite leisure activities: nly ne persn, a 54 year ld wmen, ranked a classical music cncert n tp This is the persn that mentined she has grwn up with classical music. Other interviewees put their card in psitin 4, 5, 6, 7 r 8. The fact that classical music cncerts are nt (regularly) attended by members f this sample, can easily be clarified; interviewees are selected n the fact that they are nn-attenders. In the paragraphs n cnstraints, a pssible explanatin f their nn- 36

37 Number f respndents attendance is described. 80 Number f times a CLASSICAL MUSIC CONCERT has been visited in the past 12 mnths 0x 1x x 4x 5x > 5x dn't knw Figure 5. Participatin in classical music cncerts (N=108) Cnclusin n cultural activities Findings frm this study shw that bth samples mainly represent highly educated peple, all frm Rijnmnd regin and everybdy participates in cultural activities. Preferred activities, ranked in the tp 3 are: film, museum and pp cncert, which can be seen as a mix f high culture and ppular culture activities. This might supprt the thery abut the cultural mnivre, wherein is mentined that highly educated respndents select activities frm bth categries. Based n my findings, hwever, my suggestin is that part f the explratin is als fund in the accessibility and the availability f thse activities, which make them cnvenient t decide upn participating n the last mment. Furthermre, it became quite clear that classical music cncerts are nt attended very ften Mtives fr leisure Nw an insight is gained int the kind f leisure activities bth samples prefer, a next step is t lk int the mtives peple indicate fr leisure. The kind f activities peple participate in during their leisure time, depends partly n what kind f need they want t be fulfilled (Kelly & Gdbey, 1992; Mulder, 2011). Mtives, tgether with cnstraints, influence a decisin n participatin in an activity. 37

38 Number f respndents What we can learn frm mtives reprted in the quantitative part f the study, is that respndents are mstly lking fr gezelligheid (68%), relaxatin (69%) and being tgether with friends r family (64%). These findings are supprted by the utcmes f the interviews, because als interviewees mentin the need fr relaxatin. Nine ut f ten respndents ranked relaxatin n the first, secnd r third place. But als gezelligheid and spending time with are recgnized as imprtant needs in leisure and are highly ranked in the interviews as well. Belw I present tw verviews. In Figure 6, the indicated mtives f respndents f the questinnaire are shwn. Results frm the qualitative part are shwn in Table Mtives fr leisure M t i v e 1.relaxatin 2.gezelligheid 3.spending time with friends/family 4.seeing/hearing smething beautiful 5.t be entertained 6.t escape frm daily life 7.t get inspired 8.t learn smething new 9.t have an unfrgetable experience Figure 6. Mtives fr leisure (N=108) Table 3. Mtives fr leisure ranked by interviewees. Number 1 indicates the mst imprtant mtive. age grup Mtive fr leisure M - 24 F - 21 M - 36 F - 32 M - 44 F - 43 M - 50 F - 54 M - 60 F relaxatin spending time with gezelligheid met* unfrgetable experience being inspired acquiring knwledge escaping daily life n.a diversin n.a *I decided t keep the Dutch wrd Gezelligheid as it is difficult t translate. 38

39 In the next paragraphs mtives with mst utspken results are discussed Relaxatin The qutes belw illustrate the imprtance f relaxatin as a need, which is explained in relatin with the busy life mst interviewees live. It is stated that there is felt a need t clear their minds, get away frm the daily stress and nt t think abut prblems, deadlines r wrk in general. [ ] but, just t be withut thinking, wrrying, eh just t clear yur mind, just enjying, that is relaxatin fr me (wmen, 32) [ ] [ ] I think I can mainly relax if I dn t have the think abut the daily stress, frm schl r frm wrk.. (man, 24) [ ] [ ] Eh, yes, it fr sure has t d with having a busy week, r nt It has t d with what I already mentined earlier, yes, I definitely need sme time I can spent by myself. I then really need it, t relax a bit, just watching sme TV r s Smetimes, I really need that. (wman, 21) [ ] [ ] Because, yes, if I have been busy all day, with rwing and ther activities, then at night I just want t.. t relax n the cuch, s t say. Yes. (wman, 54) [ ] This imprtant need in leisure, relaxatin, is nt the same as ding nthing at all, thugh. Mst interviewees relate activities such as running, cycling, rwing r dings sprts in general as the ultimate activity t find relaxatin. Other activities mentined in cmbinatin with relaxatin, are spending time with friends and family. On the ther hand, sme peple explicitly mentin the fact that relaxatin is especially fund when being alne, ding things that they find imprtant t d, such as reading a bk r relaxing n the cuch, withut having anyne arund. Belw sme statements demnstrate the imprtance f relaxatin. 39

40 [ ] I see rwing as an imprtant activity t find relaxatin in. Uhm.. uhm.. yes, being physically active, clear my mind, dn t think abut wrk, and sme yes, fr me that is really imprtant. (wmen, 54) [ ] [ ] Yes, reading and the mst imprtant frm f relaxatin is ding sprts. Yes, in all thse years I built such a netwrk with nice peple. Yes, that is mst relaxing fr me. (wman, 64) [ ] [ ] Q: And if I wuld ask yu t name an activity that brings yu that relaxatin, what whuld that then be? A: Reading.. and uhm.. ding sprts. (man, 50) [ ] What these statements have in cmmn, is that when activities are related with the mtive f relaxatin, it is nt very likely that cultural activities cme t mind. Apparently, relaxing is nt assciated with undertaking cultural utings Gezelligheid A secnd mtive f significant imprtance, is the need fr gezelligheid in leisure time. Via the presented cards during the interview, Gezelligheid is ranked quite high as well, just as relaxatin. Gezelligheid, has a clear link with spending time with thers, either friends, a partner r the family. When discussing this mtive fr leisure, all kind f different activities cme up, such as ging ut fr cffee, lunch r dinner, but als spending an evening at hme with friends. [ ] Well, having a nice dinner, gd fd and gd cmpany, a gezellige atmsphere, that I d find very imprtant. (wman, 21) [ ] [ ] I think these tw needs are related t each ther: gezelligheid and spending time with friends. Althugh, it als depends, because smetimes I rather spend the day by myself, when I am a day ff. (man, 24) [ ] 40

41 [ ] we really enjy thse evenings f just being tgether, talking all night (man, 44) [ ] [ ] Well, just the simple things in life I find gezellig. And gezelligheid I d find quite imprtant. (wman, 64) [ ] [ ] Gezelligheid. Well, that can be fund in all kind f activities. And it is very nice when it is gezellig, althugh, it is nt specifically aimed at. (man, 60) [ ] In many cases, a clear link is made between the three highest ranked mtives fr leisure. Gezelligheid is related t spending time with family and friends, and may prvide relaxatin in that cntext.. The reasn why these mtives fr leisure need t be discussed, is the fact that such mtives can be seen as an underlying mtivatr fr undertaking certain leisure activities. What these indicated mtives might express here, is the fact that peple like t spend their leisure time in a relaxing and gezellig way. Peple are undubtedly lking fr activities that can clear their minds, that will stp them frm thinking abut wrk r ther daily wrries. They seem t be lking fr activities that can prvide them with new energy, withut having them t put a lt f energy in it. A finding that supprts this claim, is the fact that t learn smething new, which requires a mental effrt, is ranked rather lw by the interviewees (see Table 3). This finding returns in the quantitative data. (see Figure 6). The nly tw respndents that ranked the learn-mtive quite high, are the tw peple that d nt wrk full time (wmen, aged between and man, aged between 60-69). It might be that their need fr new knwledge is higher because they d nt wrk. They therefre have mre time t spend, and may be lking fr mre than just relaxatin. [ ] acquiring knwledge I d encunter new things.. while watching TV, series and stuff and I like that, but t actively lking fr new infrmatin I als ntice that at wrk, really lking fr new things. It just desn t happen. (man, 36) [ ] [ ] I wuld like t knw mre abut a piece f art, fr instance, but fr sme reasn, I dn t d it.. (man, 60) [ ] 41

42 Having an unfrgettable experience The quantitative results shw that having an unfrgettable experience is nt recgnized as an imprtant mtive fr leisure. Only 14 respndents, ut f 108, which is 12%, give this as a reasn fr spending leisure time. This is a ntewrthy utcme, because having meaningful experiences are s much related t leisure activities nwadays. (Mulder, 2011; Pine & Gilmre, 1999). Accrding t Pine and Gilmre, we have entered the experience ecnmy in the 21 st century, which implies that cnsumers are lking fr experiences rather than prducts and services. Als during the interviews having unfrgettable experiences was discussed with the respndents. There this subject leaves a diverse impressin. Sme ranked it in the upper sectin and thers in the lwer. Nne f the cards were fund in the middle regins (see Table 3).The explanatins may give a clearer picture. One f the interviewees explicitly linked unfrgettable experiences t her hlidays, because it is hard fr her t find this in The Netherlands, s she states: [ ] Yes, because experiencing smething unfrgettable in ne day in The Netherlands, I have nt been able t achieve that, ha ha (wman, 21) [ ] Anther interviewee seems rather aware f building these unfrgettable experiences, by making sure that every nw and then the weekend is nt just the weekend, but shuld be smething extrardinary. This is quite a cnscius way f dealing with leisure time. One example he gave: [ ] f curse yu can the weekend just letting g by, but yu can als plan things which make the weekend an unfrgettable experience. The ther day we went with the whle family t the Krller Mller museum, which was a great experience. I still think abut it. (man, 36) [ ] And anther interviewee is apparently nt lking fr unfrgettable experiences at all, as she sees it as smething that is almst impssible. [ ] yes, this card has t be put at the bttm f the list. Having an unfrgettable experience sunds like smething that can nly happen in Utpia, dn t yu think? (wman, 43) [ ] A final qute illustrates that lking fr unfrgettable experiences might be assciated with being dissatisfied with the current life. This persn is nt likely t be mtivated t lk fr these kind f 42

43 experiences, as he is happy with the life he lives: [ ] well yes well, I find that nt sure what t d with this statement I find it having an unfrgettable experience fr me it expresses as if I am nt happy with my life r s, if I am searching fr a better life. And I dn t have that. (man, 44) [ ] Cnclusin n mtives Relaxatin, gezelligheid and spending time with friends and family seem t be the mst imprtant mtivatins fr leisure. These mtivatins are related, especially spending time with friends and gezelligheid. Remarkable is the fact that these mtives are nt specifically linked with cultural activities, but mre with, fr instance, sprts, having dinner r just being at hme. Ntewrthy is the apparent unimprtance f an unfrgettable experience as a mtivatin fr leisure, as well as the mtivatin t learn smething new/acquire new knwledge. These mtivatins seem t have a small, r n, link t leisure time. Peple in bth samples express that during leisure time shuld be spend effrtlessly and easily. This wuld imply that it is nt likely that new activities will be attempted Cnstraints visiting classical music cncerts After I presented the results f the activities and mtivatins respndents find imprtant in leisure, a next step is t fcus n the cnstraints peple perceive fr (nt) attending classical music cncerts. Where mtivatin has a psitive influence n participatin in (cultural) leisure activities, cnstraints have a negative n participatin in leisure (Kelly & Gdbey, 1992; Kleiber, Walker & Mannel, 2011). Therefre, the next step is t understand what this sample says abut classical music cncerts and the kind f cnstraints they identify fr nt attending thse cncerts. As explained in the theretical framewrk, there are different categries cnstraints; intrapersnal, interpersnal and structural cnstraints (Kelly & Gdbey, 1992), r accrding t Kay, Wng and Plnsky (2009): external/situatinal factrs, prduct specific factrs and persnal factrs. 43

44 Cmparisn f bth samples cncerning perceived cnstraints First I will shw what bth samples indicated as reasns fr nt attending classical cncerts, ranked frm mst imprtant t least imprtant. Based n these data, I will investigate whether bth samples are aligned r nt. After that, mst remarkable (qualitative) findings are analyzed, t give meaning t the fund cnstraints. The tp three f cnstraints, fund in the quantitative sample, are it desn t suit me, it just didn t happen and I think it is bring. Apparently, peple perceive classical music cncerts as a cultural activity that is nt smething that they shuld be ding, which wuld relate t (intra)persnal factrs (Kelly & Gdbey, 1992; Kay, Wng & Plnsky, 2009). When peple say that smething is nt suitable fr them, they implicitly say that this has t d with themselves and nt s much with the prduct. It might have t d with perceived self-skill, because they feel they lack knwledge, r think they are nt the right audience. The secnd ranked cnstraint in the quantitative sample, it just didn t happen, might be a cnsidered as a first reactin. In the quantitative sample it was even reprted as the first ranked cnstraint. Respndents were, as stated in the methd sectin, nt aware f the main subject f the questinnaire/interview, therefre it was nt pssible t prepare the subject and it was nt pssible t think abut a pssible explanatin fr their nn-attendance. This very brad statement f curse needs a deeper analysis, which is dne in ne f the next paragraphs. The third cnstraint, I think it is bring says mre abut the prduct itself. The majrity f the quantitative sample has nt attended a classical music cncert, in the past twelve mnths, but the majrity apparently has an pinin abut classical music cncerts. This quantitative finding is nt in line with the ranking f the interviewees, as fr them classical music cncerts are nt perceived as being bring. Perhaps, it is mre difficult t state that such cncerts are bring when it is discussed face t face, than when it is just a tick-bx in an annymus questinnaire. 44

45 Number f respndents Cnstraints fr visiting classical music cncerts n.a. I attended a classical cncert 1.it desn't suit me 2.it just didn't happen 3.I think it is bring 20 4.t expensive 5.wh t g with? 10 6.nt sure if I understand it 7.I dn't knw the prgramme 0 ther reasn Figure 7. Cnstraints classical music cncerts (N=108) Figure 7 presents the cmplete utcmes f the perceived cnstraints f the quantitative sample. The imprtance f the cnstraints experienced by the qualitative sample is presented in Table 4. In the qualitative part f my study, ten interviewees were asked t rank the cnstraint-cards and t clarify their ranking. Findings abut these cnstraints give a rather diverse picture. A few wrds has already been addressed n the first ranked cnstraint f the interviewees (it just didn t happen). The number tw cnstraint that interviewees mentined, infrmatin nt nticed, is nt recgnized as an imprtant cnstraint by peple that filled in the questinnaire, where it ended at the bttm. A pssible explanatin culd be that the statement in the questinnaire was mre specific: dn t knw what the prgramme is. The wrd infrmatin can be interpreted in different ways; it culd refer t the prgramme, but als t infrmatin abut the music, cmpsers r the rchestra. S it is a brader term, which culd have caused a high ranking fr this cnstraint The third ranked reasn, nt used t it, is a mre cncrete cnstraint. As shwn in the scidemgraphic part, mst interviewees are nt familiar with classical music. The same applies t ging t museums, but peple decided t explre that themselves. Fr classical music cncerts, this is nt the case. A ntewrthy finding in the lwer regin f the ranked cards, is the unimprtance f the fact that friends d nt attend classical music cncerts either.in bth samples this statement ends at the fifth place. Peple tend t make their wn, individualistic, chices and the fact that friends d nt attend classical music cncerts, is nt perceived as a cnstraint. Only the respndents in the yungest age grup indicate this as imprtant. It is knwn that in yunger age grups scial netwrks have a bigger impact than in later years, which might be a suitable explanatin fr this particular utcme. 45

46 Table 4. Cnstraints ranked by interviewees. Number 1 indicates a cnstraint that plays an imprtant rle. age grup Cnstraints M 24 F - 21 M - 36 F - 32 M - 44 F - 43 M - 50 F - 54 M - 60 F it just didn't happen inf nt nticed finance* 1 3.nt used t it n.a. 4 n.a lacking knwledge n.a friends dn't d it either n.a. n.a. 6 n.a t frmal n.a n.a. 4 5 n.a takes t lng n.a n.a. n.a. 9 n.a bring n.a n.a. n.a. 8 n.a nt feeling at hme n.a. n.a. 10 n.a dn't like the music n.a. n.a. 7 n.a. 7 9 *= finance is added as a cnstraint by this respndent. In the next paragraphs, the cnstraints are analyzed, based n the transcribed interviews. Outcmes f these interviews are presented per theme and are supprted with qutes frm the quantitative data Prduct Classical music (cncerts) as a cnstraint Accrding t Kay, Wng and Plnsky (2009), the (perceived quality f) the prduct itself might be cnsidered as a cnstraint. I wuld claim that the prduct is the mst significant cnstraint. During the interviews this tpic is discussed because ne f the cnstraint-cards mentined d nt like classical music. Table 4 shws that classical music itself is nt perceived as a cnstraint by the interviewees, because cards are ranked quite lw. Three interviewees even claim that d nt like classical music is nt applicable (n.a.) at all. Based n these scres, (perceptin f ) the prduct seems the least imprtant factr fr nt attending. After analyzing the transcripts, I argue that classical music seems t be mstly perceived as music that shuld be valued and respected. Peple perceive the music as beautiful, as shwn in the qutatins belw: 46

47 [ ] f curse, it is s extremely difficult what they d, yu can nly admire that (wman, 21) [ ] [ ] it is really impssible t nt appreciate the music, as it is s extremely beautiful. It is such a pity that nt mre peple find their way t classical music (man, 36) [ ] [ ] Q: Ehm.. If we lk at the ranked cards; yu say, I d like the music, s am I right when I think that it is nt the music itself.. A: N.. n.. Q: S, it is nt the music itself? A: N. (man, 50) [ ] The general appreciatin f classical, is cnfirmed when peple are asked abut the kind f music they usually t listen t. The majrity f this sample listens t classical music when they are at hme. Interesting abut this, is that all interviewees that d listen t this genre, belng t the age grup f [ ] We nce had a year in which listened t pera nly. The ther year it is jazz, and a next time it is classical music. (wman, 64) [ ] [ ] Yes, that music is really beautiful. I d, fr instance regularly listen t classic.fm. I think it is beautiful music. (man, 44) [ ] [ ] Q: What kind f music d yu listen t? A: Well, that is very brad, pp music, eighties, nineties, classical music (man, 50) [ ] [ ] Ehm.. yes, well, my husband is very fnd f all kinds f music, s he usually has sme music n. But, it culd be mdern music as well. But, we always listen t classical music n Sundays, that is a kind f rule in ur huse. (wman, 54) [ ] [ ] And if I am lking fr sme backgrund music, then it can be classical music, and then I think, this is nice and quiet, this is what I am in the md fr. (man, 60) [ ] 47

48 The yunger part f the sample (ages between 20 39) des nt listen t this music, r in ne case, des nt listen t music at all: [ ] ehmm... well, that is actually an interesting pint, because yu nw assume that I.. I dn t listen t music a lt. Mst peple find that weird.. but I like it t be silent arund me. (wman, 32) [ ] A fact wrth mentining here is that tw interviewees stated that they cannt deny that classical music is beautiful and shuld be admired, but that this music is nt their persnal taste. They distinguish their wn music taste and the skills f cmpsers and musicians, which shuld just be appreciated because it takes years f training and educatin. Even thugh they d nt regularly listen t classical music themselves, they still value the beauty f it. [ ] It is nt that I dn t like the music Of curse, what thse musicians are capable f, that is extremely skillful. But it is just nt my music. Nt my taste. Sme peple say that classical music is hrrible, that it nt music but nise, but that is nt true f curse. (wmen, 21) [ ] [ ] I always find it very special t see peple making live music. That passin, that enthusiasm well, then it is nt even that imprtant whether it is my wn music taste. (wman, 43) [ ] These statements resnate with findings f Dbsn (2010), wh claims that peple feel bligated t appreciate classical music, as it is recgnized as the perfect music, which just cannt be criticized. Once classical music is discussed, in all kinds f media, it is usually in full admiratin. Fr peple that are nt familiar with classical music, it seems difficult t state that they d nt share that admiratin, persnally. Figure 8 summarizes these findings n the perceptin f classical music, by depicting the relatins between statements f interviewees abut classical music. In the middle classical music is placed. The upper part shws that peple appreciate the music, which is cnfirmed by the fact that they als listen t classical music at hme. They truly find the music nice and beautiful. If the music is nt appealing t smene, r peple d nt like the music, which is shwn in the lwer part f the figure, then still music and especially the musicians can be admired. But this admiratin des nt lead t listening t classical music at hme. 48

49 Figure 8. Relatins prduct classical music Classical music is admired by almst all interviewees, even thugh it is nt everybdy s persnal taste. Thus, the majrity f this sample can be indicated as an interested audience, as they seem quite pen t the music. Hwever, admiring the music des nt necessarily lead t visiting cncerts. This is in line with Van den Brek and De Rij (2013), wh claim that the number f peple interested in classical music is much higher than the number f actual visitrs. Cnclusin is that the prduct, classical music cncert itself is nt necessarily perceived as a cnstraint, as Idema (2012) already claimed. This wuld mean t that ther cnstraints play a rle Knwledge abut classical music as a cnstraint Based n the previus paragraph, I can state that classical music is generally perceived as music that culd be appreciated by many peple. In cultural plicy plans is even stated that cultural rganizatins shuld attract a wide range f peple t e.g. their exhibitins, plays and cncerts. Nevertheless, classical music cncerts are nt perceived as cncerts fr the masses. It is seen as music that it requires knwledge befre it can be fully appreciated (Dbsn, 2010; Kramer, 2007). Having such knwledge is mstly available amng peple with substantial cultural capital. This partly applies t interviewees that participated in this research. In this paragraph I fcus n 49

50 what respndents said abut knwledge abut classical music and whether this (lack f) knwledge shuld be cnsidered a cnstraint. Transcripts f the interviews indicate a divisin between experienced and less experienced listeners. In the qualitative sample, ne very and a few slightly experienced listeners participated in this study. The very experienced persn states, fr bvius reasns, that the cnstraint lacking knwledge is nt applicable t her. Hwever, she claims that having mre knwledge wuld cntribute t an even better understanding f classical music. [ ] If yu are nt familiar with classical music at all, then I think it is quite difficult t, all f a sudden cmprehend a pian cncert. I culd imagine that sme knwledge abut the cmpser, abut the cntext in which a piece has been written, which instruments represent certain themes in the music.. Well, I think that this kind f infrmatin culd help peple t better understand the music. Yes. (wman, 54) [ ] This qute reflects different kinds f knwledge; knwledge abut the cmpser, abut the cntext and abut the rle f instruments. This shws a distinctin in the kind f knwledge. On the ne side there is knwledge that refers t cmpsers and the intentins they had writing a certain piece which can be addressed as cntextualized knwledge. On the ther side there is knwledge that refers t the technical side f music, such as use f instruments, structure, ntes and rhythm. Belw these kinds f knwledge are analyzed and supprted with sme qutes frm the interviews Cntextualized knwledge Cntextualized knwledge refers t infrmatin abut cmpsers and the cntext in which a piece has been cmpsed. Fr respndents it seems an imprtant element t knw abut the backgrund f cmpsitins, which apparently adds value t the appreciatin f the music. Half f the interviewees state that infrmatin abut the cmpsers has a psitive influence n the experience and remembrance f music. In the qutes belw I present what is said abut knwledge abut cmpsers. 50

51 [ ] I find it nice t knw, fr instance abut Bach, that he has been a rather unknwn persn, just a nrmal man, and nly after he died yes, that kind f stries I really like. S, first I want t knw the stry, then I want t listen t the music. (man, 36) [ ] [ ] I wuldn t want t listen t the music first and nly then hear the stry.. N, first the stry and then the music, because then yu all f a sudden hear in the music hw he felt r s. (man, 36) [ ] [ ] Well, I d knw that when yu knw mre abut the persn that wrte the music, when yu knw why he made it, then it makes the music much nicer. (man, 50) [ ] [ ] But, I d knw that if yu knw mre abut the persn that cmpsed the music, if yu knw why a certain piece has been written, eh.. yes, it des make it better. (man, 24) [ ] [ ] Yes, I d find that.. eh.. if yu knw music has been written fr a certain kind f event, I think that it is relevant t knw. Yes, yes, abslutely. Nt nly the music, but the cntext in which it is cmpsed, yes (wman, 54) [ ] Based n these qutes, my cnclusin is that knwledge abut the situatin, time and setting in which a music piece was written cntributes t a psitive experience f the listener. It enhances the psitive experience. It is als stated that such stries enable t remember music easier and better. Peple are apparently interested in the persn behind the cmpser, the human behind the prfessin. The imprtance f such stries behind famus peple, n successful prducts, is a mre widespread phenmenn in current sciety. Cmpanies and prducts are branded with a stry arund it. And (scial) media make it pssible t find infrmatin n whatever peple want t knw. An example n Dutch televisin, where nt nly classical music itself but als cntextual stries arund it are prvided, is De tiende van Tijl. In this prgramme infrmatin abut cmpsers, cncert halls and musicians is given. Als in cncert halls and theatres, it is cmmn that lectures are given just befre r after the perfrmance. This cntextual infrmatin is easy accessible fr a wide range f peple. Life stries d nt require very special musical knwledge but just are certain interest in human beings. 51

52 Technical knwledge Besides knwledge abut cmpsers and the cntext f their wrk, the mre technical aspect abut music als plays a rle. Technical knwledge refers t infrmatin abut the music itself, music instruments, themes and symblics and structure f the cmpsitin. Belw sme qutes shw hw this knwledge is valued. [ ] I think that if I wuld have mre knwledge abut the music, I might listen t it in a different way. Then I wuld listen mre actively and attentively, because I really hear what is ging n. (man, 24) [ ] [ ] well, classical music.. maybe I shuld get t knw it a bit better I d like it, yes, I sure d like it. (wman, 43) [ ] [ ] If I find the time, then I like t listen, r t watch Vrije Geluiden. Fr me that is als a way t build sme knwledge abut classical music, t listen t ther music then I wuld nrmally listen t. (wman, 43)[ ] Peple state that such knwledge cntributes t the experience, as they will hear mre and understand it better. Raffman (1988) and Kramer (2007) cnfirm that classical music needs mre than just t be listened at, it shuld be explred. T fully understand the meaning f cmpsitins, this knwledge is required. The need fr knwledge is nt recgnized by the cmplete sample as ther vices claim mre r less the ppsite, by saying that music is music, and yu like it, r yu d nt like it. Yu are tuched by it, r yu are nt tuched by it. In ther wrds, it is needless t knw in which time music has been cmpsed, what the setting was then, wh cmpsed the music, what the cmpser tried t express r what kind f instruments are used. Thse interviewees state that music is abut emtins and experience, which is supprted by the qutes belw. [ ] I think that yu can als just enjy classical music withut knwing all ins and uts f the music. In the end it cmes dwn t whether it tuches yu. (man, 60) [ ] 52

53 [ ]... with many cultural activities, it is just a matter f experiencing it, and freknwledge is nt necessarily needed. And I d believe in that. (wman, 32) [ ] [ ] That is.. lacking knwledge.. I find that actually I dn t need knwledge t be able t appreciate the music. Because, yu either enjy the music, r yu dn t enjy the music. (wman, 64) [ ] [ ] Well, music is just beautiful, yu just need t experience it. But, I dn t knw cmpsers. I dn t knw their music. (man, 44) [ ] [ ] I think I dn t need t knw when the music is cmpsed, r which instruments are represented, r hw it is played.. (man, 60) [ ] [ ] N I admit, I dn t knw much abut the music. [ ] But, still I can appreciate it. (man, 60) [ ] Just experiencing music is fine by these, rather inexperienced, listeners. T them music is emtin, just an experience. Accrding t the mre prficient listener, hwever, peple wuld miss ut imprtant elements, r experience the music less intensive, due t this lack f knwledge. In ther wrds, an inexperienced listener des nt hear the different layers that the cmpsers put in it. Yet, that is what mre skilled listeners state. The inexperienced listener is, f curse, nt aware f lacking knwledge, at least in the beginning. Learning abut these technical elements f the music, requires mre effrt than learning abut the stries behind the music. This culd be an explanatin fr the fact that cntextual knwledge is seen as enhancing the listening experience mre than the technical aspects. Cntextual knwledge is easier t prvide and leads t appreciatin faster. The inexperienced listeners seem t value cntextual knwledge mre than the technical knwledge. Figure 9, depicts an verview f findings abut the influence f varius frms f knwledge abut classical music (e.g. cntextualized knwledge and technical knwledge), abut cmpsers and their intentins with expressing certain kinds f music. This knwledge aspect ranks respndents by their experience with classical music (respectively their wish fr further develpment in the subject) Half f the respndents claim that knwledge is needed in rder t value and appreciate the music, which is remarkably claimed by experienced listeners mainly. This grup is visualized belw classical music/classical music cncert. Respndents are used t listen t classical music, and has attended classical music cncerts and apparently, they have nticed that 53

54 having knwledge abut the music r cmpsers can enhance the experience f it. When peple state that knwledge is needed, tw different kinds f knwledge are discussed; cntextualized knwledge and the mre difficult t btain technical knwledge. In the lwer left crner, cntextualized knwledge is psitined. This knwledge deals with backgrund infrmatin abut the cmpser and abut the when and where a piece has been written. The lwer right crner depicts the technical side, namely the music itself, and the kind f instruments that are used. In bth cases, knwledge wuld lead t a better understanding f the music. On the side f the less experienced, there is mre fcus n the experience alne, withut feeling a need f knwledge f the cmpser and/r the cntext in which he cmpsed the music. Their statements are fund abve classical music/classical music cncerts. They state that this knwledge is nt necessary in rder t be able t appreciate the music. Music des nt becme better r nicer with mre infrmatin, these respndents claim. Figure 9. Knwledge classical music Whether knwledge abut classical music is a cnstraint is difficult t tell. Abut half f the respndents argue that it wuld enhance the experience. The ther half, the less experienced respndents n the ther hand express that if they wuld knw mre abut classical music, they 54

55 might understand it better. This utcme is als represented in hw interviewees ranked the cards. Half f them ranked the card with lacking knwledge in the tp, the ther half in the lwer part f the list. Based n these findings, I argue that nt having knwledge abut the music shuld nt be cnsidered a cnstraint fr everybdy. Peple say that such knwledge wuld nly enhance the experience. This wuld mean that they already value the music t sme extent. This resnates with my earlier claim abut classical music in general, which is seen as valuable music. Fr peple that are nt acquainted with classical music, knwledge culd be a cnstraint, thugh. As presented in the sectin abut mtives fr leisure, acquiring knwledge is nt recgnized as an imprtant mtive. Negtiatin abut mtives and cnstraints, prbably results in nn-attendance, as peple are nt expected t learn abut classical music. This wuld mean that the lack f knwledge limits them t enhance the music experience and will mst likely nt be attracted t visit a classical music cncert. Figure 10. Cnstraints mdel Knwledge classical music Bth grups, the experienced and the inexperienced listener, have again- ne thing in cmmn. Whether they have r need knwledge, r nt, attending classical music cncerts is fr bth grups nt an activity that is dne n a regular basis. We have t lk fr ther cnstraints frm which 55

56 nn-attendance might be explained It just did nt happen Besides the prduct-related cnstraints, such as the perceptin f knwledge abut classical music, the next cnstraint t lk int, is it just did nt happen. During the interviews, five peple ranked this card as a number 1 and tw peple as number 2, and shuld therefre be seen as the number ne cnstraint. (see Table 4). Ranking it just did nt happen is ne thing. Addressing what is actually meant by this statement, is anther thing. It required a lt f prbing and thinking and then still interviewees fund it hard t clarify it. [ ] Why visiting classical music cncerts d nt happen? That is actually quite hard t tell (man, 21) [ ] [ ] but it just did nt happen Actually, that is a strange reasn. I am surprised abut this myself (wman, 64) [ ] One persn (wman, 64) expressed that it just didn t happen is actually a rather weak excuse, because if yu really want smething yu can d it, and therefre, it shuld nt be a cnstraint at all. But apparently, she des nt want it strngly enugh, r des nt feel the need t take actin which is needed t visit a classical music cncert, she cncluded herself. Besides a weak excuse, this cnstraint seems t cnsist f three elements; phase f life, planning ahead and nt being used t it. It just didn t happen phase f life Bth respndents in the age grup f years ld, cnnect the cnstraint it just didn t happen with the phase f life they are in. While being a part f a family with yung children in the age f 0 6 years ld, leisure time is preferably spent n activities in which all family members can participate. Leisure time is scarce and spending that time in a classical cncert hall has n pririty at this mment. In paragraph I will g mre deeply int the relatin between it just did nt happen and phase f life. It just didn t happen planning ahead Peple find it hard t plan a lng time in advance. In relatin t this cnstraint, interviewees 56

57 respnded that they have the impressin that attending a classical music cncert needs t be bked mnths in advance in rder t get seats. Once these respndents decide t g ut, they rather visit smething they d nt have t plan ahead, such as a museum r a film. In paragraph it is already explained that respndents are mre likely t attend cultural activities that are accessible. Accessibility is nt necessarily related t high r lw culture activities, but t these planning issues. It just didn t happen nt used t it Sme respndents specified it just didn t happen by claiming that a link is seen with their upbringing and the fact that they are nt used t ging t such cncerts. Because they are nt used t it, it is nt the first thing that cmes t mind nce they think f participating in a cultural activity. A mre elabrate insight in the relatin between cultural educatin and (nt) attending classical music cncerts is given in Belw, I shw sme qutes linked t familiarity with attending classical music cncerts: [ ] it is nt part f my dna (man, 24) [ ] [ ]Q: it just didn t happen It was nt what yu said literally, but des it cme clse? Hw cme? A: ehm...well, I have nt cme in cntact with it, I am nt used t it. (man, 44) [ ] [ ] my parents dn t listen t it, my girlfriend des nt listen t it.. (man, 24) [ ] The statement it just didn t happen is a cnstraint that can be divided in elements, such as the stage f life, planning and upbringing. Hw these cnstraints are linked, can be seen in figure 11. Figure 11. Overview f aspects related t 'it just did nt happen' 57

58 The cnstraint it just didn t happen, apparently, is the first thing that cmes t mind, nce peple are asked why they d nt attend classical music cncerts. It seems t functin as an umbrella fr ther (sub)cnstraints, as it clearly shws links with planning, phase f life and cultural upbringing. Underlying reasns are further explred in the next paragraphs, in which I will subsequently examine; phase f life, planning ahead, infrmatin, suitability and atmsphere Cnstraints and phase f life One f the underlying reasns that are discussed in relatin with it just didn t happen, is the phase f life peple are in. Interviews with peple frm the yungest age grup (peple between 20 and 29 years ld) learned that peple are nt really pen t listen t classical music, insfar classical music is nt their persnal taste. * + Yes, it is nt my kind f music. I think this has t d with my age. Yeah, it is just.. N, really nt fr me. I think I wuld find it extremely bring. Yes, just bring. (wman, 21) * + * +.. but, it is nt my favrite music genre, and I think that has t d with the fact that the music is nt appealing t me. (man, 24) * + Visiting cncerts with classical music nly, withut it being yur music taste, is nt a very likely chice. What can be seen in the first qutatins, is that ne f the interviewees makes the link with her age: she indicates her age as a reasn fr nt really liking classical music. In general it is assumed that classical music is appreciated mre in a later stage f life, if it is appreciated at all (Schnabel, 2012). In the age f years ld, bth respndents mentined that being part f a yung family influences their chices in leisure t a great extent. They expressed their need fr spending time with the family and spending time n activities that are nice fr the children. They experience time as being limited, in which a lt f tasks need t be dne. Once there is time that can be spend n leisure activities, then they chse activities that invlve all family members. And a classical cncert is nt perceived as such an activity. 58

59 [ ] eh, well, at this mment, eh.. then I hear abut Rbec summer cncerts, and even thugh I wuld like t d that, but it usually is n a Sunday mrning. Ant that is just nt ging t happen, as that mment is fr my family. (man, 36) [ ] Anther reasn that the wman in this age categry mentins, is that she is currently nt really pen t new experiences in general, because she has a yung child. And because she is nt used t visiting classical music cncerts, she indicated this mment in life nt as the ideal time t start explring new activities. Just ging ut fr a visit t a family park, makes her very happy at the mment. [ ] N.. but that has t d with the fact that I am nt s pen t new things. I am very happy and satisfied with what I nw have. (wman, 32) [ ] This wuld indicate that fr peple belw the age f frty, attending classical music cncerts is an activity that des nt have a very high pririty. This nt nly has t d with the fact that leisure time is limited, but in additin they find it imprtant t spend the scarce time available with all family members. Kay, Wng and Plnsky (2009) als recgnize that peple experience leisure time as being limited. Hwever, being in a certain phase f life has nt been specifically addressed in the cnstraints they reprted. Therefre the sub-cnstraint phase f life wuld be a refinement f current understanding f the cnstraint that deals with time planning. In Figure 12 I present a visual verview f the relatins that life stage has with attending classical music cncerts. Ages seem t play an imprtant rle. Firstly, it influences the music taste peple have. Liking classical music is seen as smething fr lder peple. The secnd aspect is the relatin between being part f a yung family in this phase f life. Whether the music is appreciated r nt, attending a classical music cncert is nt seen as a family-activity and therefre it des nt happen. My cnclusin is that being in the rush-hur, phase f life can be seen as a cnstraint fr attending classical music cncerts. 59

60 Figure 12. Relatins phase f life The (structural) cnstraint phase f life seems t be negtiated with the mtive spending time with family (and friends), especially fr peple in the age f years ld. Being part f a family with yung children influences the chices they make and a classical music cncert is nt chsen fr. Figure 13. Cnstraints mdel phase f life 60

61 5.4.6.Cnstraints and (time) planning ahead While further explring the reasns behind the umbrella-cnstraint it just didn t happen, I revealed anther cnstraint, which was nt mentined n ne f the cards; planning ahead. Mst peple seem t find it difficult t plan their leisure activities a lng time in advance. Attending classical music cncerts is perceived as a cultural activity that needs t be planned ahead. Interviewees see a classical cncert as an activity that cannt be decided upn at a shrt ntice. Als cabaret, festivals and pp cncerts were mentined as activities that require sufficient planning. [ ] Q: Yu already said s, limited time, many chices. Did I understand it crrectly that yu are lking fr easily accessible activities. Activities that yu can decide upn n the day itself. Is that right? A: Yes... Yes, I think that is it. Yes. (wman, 54) [ ] [ ] I have sme friends, they buy all kinds f tickets half a year in advance, which makes me, h dear, I als shuld have dne that, but I didn t. Things like visiting a museum r a film are much easier t d, and that is als the reasn why I d thse things mre ften. (wmen, 54)[ ] [ ].. because, I am nt gd at planning ahead. S, that wuld mean that I will always be t late t get tickets. (man, 36) [ ] [ ] I d have the idea that such cncert needs t be planned ahead. S, that requires sme actin, yu shuld put sme effrt in it t arrange a visit. Thus, that cmbinatin f planning and nw taking the time fr it, and that yu fr instance tday shuld think abut what yu want t d in six mnths (man, 50) [ ] The fact that planning is cnsidered as a cnstraint, might be an explanatin fr the ppularity f much easier accessible activities as film and museum. Hwever, it turned ut t be that planning alne cannt be a cnclusive explanatin fr nt visiting a classical music cncert. Even thugh it definitely plays a rle in nt attending, in mst cases interviewees linked the factr f planning t the fact that if planning is needed anyway, they rather plan a festival r a pp cncert. This wuld 61

62 mean that planning n its wn is therefre nt an elabrate explanatin fr nt visiting a classical music cncert. Apparently, it has t be seen in cmbinatin with the prduct itself. The fllwing qutes supprt this finding: * + Yes, s,.. the barrier t rganise it, and t actually live it ut well, that barrier is higher than fr instance ging t the cinema. But that barrier is just as high as rganising a pp cncert. And then.. I like a pp cncert better. (man, 50) * + * + And it des nt have t d with the appreciatin f a classical music cncert, as I d like it. But, it has mre t d with that I find ther things mre imprtant. (wman, 54) * + * + Ehm, well, maybe it then is because I, in the end, like the ther things better, therwise my chice wuld be different. But, I find, fr instance rwing r ther things nicer that a classical music cncert. It all has t d with pririties.(wman, 54) * + The figure belw presents, a visual representatin n planning ahead. I earlier shwed a clarificatin n it just didn t happen, and planning ahead seems t be a related sub-reasn. Planning ahead cnsists f tw different elements. First, planning itself (which is shwn in the left crner f the figure). Planning activities is nt enjyed by the sample. It is perceived as just anther task n the t d list, which is already rather full. Cmbined with the fact that classical music cncerts are perceived as activities that require such planning, it just des nt happen. The secnd reasn is indirectly related t planning and has t d with activities that are favred mre and fr which the effrt f planning is made sner. Again, the preference fr film and museum is linked t planning ahead here. Because planning is nt needed fr film and museum, thse activities are perceived as easier t rganize and therefre happen mre ften. 62

63 Figure 14. Relatins (time) planning ahead As a result frm these findings, I wuld argue that planning ahead is a cnstraint, that plays a rle in nt attending classical music cncerts. Planning ahead is a refinement f existing theries cncerning time issues (Kay, Wng & Plnsky, 2009; Kelly & Gdbey, 1992; Kleiber, Walker & Mannell, 2011). Usually time barriers are referred t as a lack f time t participate in cultural activities, r t the fact that cultural activities are n pririty Even thugh this still is an issue fr these interviewees, planning ahead was additinally addressed by them. Hwever, I als shuld mentin that planning ahead des nt stand n its wn. It is a cmbinatin f planning and liking ther things better, in the end. As mentined in the theretical framewrk, knwledge abut cnstraints als reveals trends in current sciety. Planning ahead wuld be an appealing example f this, as it clearly shws that peple experience their life s as being busy and that planning activities is seen as ne f the tasks. Only the activities they really find imprtant, e.g. a pp cncert, they plan ahead. Other less imprtant activities they rather nt plan, but decide upn n a shrter ntice. When I lk fr a relatin with mtives peple mentined t be imprtant, then I have reasns t assume that a link can be made with the mtive f relaxatin, which is highly valued. Planning ahead is perceived as thing n the t-d-list, which is nt seen as smething that cntributes t a relaxing leisure time. The cnstraint mdel fr planning ahead wuld lk as fllws. 63

64 Figure 15. Cnstraints mdel Planning ahead Inf nt nticed A next cnstraint that has been clearly recgnized by the interviewees, deals with infrmatin that was nt nticed. Eight respndents ranked this reasn in their tp 3, which made this cnstraint number tw n the list (see table 4 ). Evidently, if peple are nt aware f when and where a classical music cncert takes place, it is impssible t attend that particular cncert. Because peple ranked this card n such a high psitin, it seems that peple are ften unaware f cncerts. A deeper lk int the qutes gives a mre sphisticated view n this cnstraint, thugh. Respndents state that they d ntice the infrmatin, hwever, they still ranked infrmatin nt nticed as an imprtant cnstraint. A pssible explanatin fr this cntradictin is that the cnstraint inf nt nticed was cnfused with actually ding smething with the infrmatin. Analysis f the transcripts shwed that n initiative was taken after seeing infrmatin. The reasns fr nt taking actin are rather diverse, ranging frm t busy, infrmatin nt appealing, t lacking knwledge abut the cntent f the infrmatin. 64