Nowadays, we can listen to music in many ways. Since reproducing devices became widely available at the beginning of the 20^th century, recorded music performances can be separated from and heard in the absence of their original sound source. New listening situations developed. On the one hand, music has embraced increasing portability, epitomized by the practice of headphone listening, fostering a personalized and “privatized” musical experience. Conversely, advancements in technology have facilitated musical experiences within novel communal settings, exemplified by live streaming and digital concerts, thereby influencing also our understanding of performances as live. These listening situations involve distinct kinds of audio-visual perception, surroundings, and opportunities for social connection – each presenting specific affordances for the listener.

Referring back to the concept of frame in live concerts, in this project we explore and compare aesthetic experiences across a spectrum of listening situations of Western classical music in realistic contexts and controlled concert settings. Our objective is to empirically investigate how specific affordances impact experiential dimensions, such as interpersonal closeness and musical immersion, in traditional classical concert settings and other media-supported listening situations. By adopting an ecological approach to music listening, we trace the influence of technological mediation and environmental factors on the listeners’ experiences. The methodology primarily follows an inductive and theory-driven approach, from which we formulate specific research hypotheses and develop quantitative tools, including questionnaire scales.

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