抄録
In recent years, participatory art has emerged as a significant form of cultural policy practice, often linked to social benefits. In the field of contemporary art, much discussion has taken place regarding the role of participatory art, including critiques that it reflects instrumentalism within cultural policy. However, the discourse surrounding participatory music remains underdeveloped. This paper explores the genealogy of participatory practices in cultural policy and examines how audience participation is understood within participatory music. First, this study confirms that participation in cultural policy is understood in a multi-dimensional manner, encompassing both broad and narrow forms of engagement. Broad participation includes activities such as volunteering, while narrow participation refers to audience or performer involvement in events like concerts or performances. This dual understanding highlights the layered nature of cultural participation. In this discussion, further perspectives on audience participation have been identified, including those that perceive the audience and the act of listening as passive, as well as those that view participation as a means of transforming these into active experiences. Additionally, a perspective that sees the act of listening itself as active—considering it a form of participation through listening —has also been recognized. Furthermore, concepts like 'musicking' have emerged, challenging the traditional dichotomy between performing and listening, positioning music as a more inclusive practice and serving as a basis for contemporary discussions. Finally, the paper argues that the current participatory practices in the arts, which aim to foster active audience engagement, should be approached with careful consideration. Drawing on Rancière’s notion of the emancipated spectator and Sontag’s critique of over-interpretation, it is emphasized that more nuanced discussions are necessary to develop participatory art practices that embrace diverse forms of audience participation. The paper concludes that further exploration of these practices is essential for broadening the scope of audience engagement in participatory music.
