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Well, I know neither the student nor the supervisor, but I would suspect that the latter did indeed help with the setting up of the format of the questionnaire, Pulcie (and it's almost certain that she tested it "on a few friends").
I doubt it would be Prof Moore
Though it's important to NOT make a judgement about an institution based on scant evidence
For me, the whole fundamental basis was misjudged ... which in some ways is a relief as it probably means that I can still get gigs which demonstrate why this might be so (glass half full and all that)
They DO some great things at Sheffield
This also chimes with some of the discussion about this report which has been massively misquoted and misunderstood in the media but spawned some interesting debate
I started filling it in but then gave up, there were as has been said too many assumptions being made. I could spend half a day writing a detailed and considered response to what I think could have been done, but tbh mentoring Masters students is something I already spend some considerable time on and get paid for, so I think I'll leave it to you good people!
Very disappointing and assumed that everyone thought about music in historical periods
I found the questions open-ended enough for assumptions not to matter. There didn't seem to be any limit to the length of answers so one was quite able to say: "I don't think of it like that at all: the way I think of it/what is more important to me is … " That seems to me just as valid and just as valuable to a research project which is only trying to find out what people think/feel themselves - not what their opinion is of the questions/assumptions. And indeed discover their preferences if they have any and whether people think about why they like/dislike.
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
I started filling it in but then gave up, there were as has been said too many assumptions being made. I could spend half a day writing a detailed and considered response to what I think could have been done, but tbh mentoring Masters students is something I already spend some considerable time on and get paid for, so I think I'll leave it to you good people!
I’m sure your musical history, experience and achievements would be really useful to the researcher.
You could give them a freebie for once!
I found the questions open-ended enough for assumptions not to matter. There didn't seem to be any limit to the length of answers so one was quite able to say: "I don't think of it like that at all: the way I think of it/what is more important to me is … " That seems to me just as valid and just as valuable to a research project which is only trying to find out what people think/feel themselves - not what their opinion is of the questions/assumptions. And indeed discover their preferences if they have any and whether people think about why they like/dislike.
Totally agree with that ff.
It took me about 7mins to give concise and honest answers.
Last edited by Zucchini; 02-06-19, 18:59.
Reason: .
I’m sure your musical history, experience and achievements would be really useful to the researcher.
You could give them a freebie for once!
The other thing is I guess I'm not really the kind of person whose opinions orchestral programmers are ever going to take seriously! I'll have another look though...
Living as I do in the sticks, I've worked out that my own orchestral concert-going preferences depend on a calculus involving three, and increasingly four, variables - these being the works being played, who's performing them, the distance to the venue, and (increasingly, with age) whether I can be bothered. Distance - my three usual venues are 40 (Swansea), 74 (Cardiff) and 197 (London) miles away. There are things and people I'd travel to Swansea or Cardiff for but not London. Haitink at 75, at the Barbican - multiple trips to London, a no-brainer. If I were Caliban living within a cycle ride of the RAH I might pop along to all sorts of Proms, but as it is the risk of disappointment totally outweighs the investment. A fifth variable - how many time one has heard a particular work live, and who played by - also creeps in.
It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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