“Process Values” and “Deep Values” in Evaluation

Background: Many evaluation theorists and practitioners have advocated the application of cultural values to the evaluation process to ensure cultural appropriateness and responsiveness.    Purpose: This article draws a distinction between these “process values” and “deep values” in evaluation, using the specific example of cultural values to illustrate. The application of “deep values” refers to the deliberate and systematic inclusion of [in this case, cultural] values in the very definitions of “quality” and “value” used in an evaluation, and in the evaluative interpretation of evidence. Setting: Not applicable. Subjects: Not applicable. Research Design: Not applicable. Data Collection and Analysis: Not applicable. Findings: Not applicable. Conclusions: Including “deep cultural values” in the “merit determination” or “valuing” step in evaluation is partly about ensuring the right voices are at the sense-making table, but it’s also about having practical evaluation-specific methodologies for systematically and transparently building in those cultural values.     Keywords: values, ethics, culture, indigenous communities, communities of color, evaluation methodology, validit

Marketing Evaluation as a Profession and Discipline

It can be a bit like pushing sand uphill with a pointy stick, as they say here in New Zealand. One of the great challenges in developing evaluation as a discipline is getting it recognised as being distinct from the various other disciplines to which it applies. In this piece, I offer a few reflections on the challenges with this, recount a story where a group of practitioners from outside the discipline actually sat up and took notice, and propose some possible solutions for moving us forward

An exploratory study of historical representations of love in an art gallery exhibition

Visitor responses to art exhibitions vary depending on visitor traits, the exhibition context, as well as the sensory engagement between visitor and exhibition. The present investigation explored visitors’ experiences of Love: Art of Emotions, a curated exhibition shown at the National Gallery of Victoria in 2017, which comprised a variety of artworks from the early modern period selected to address the broad theme of love. This article reports on a mixed-methods research project using a short survey and brief exit interviews with visitors to consider how the visitor experience was characterized, the factors that influenced this experience, and how the exhibition content was perceived, with particular focus on the emotional content portrayed in the exhibition’s collection of artworks. Results of quantitative analyses indicate that familiarity with artworks and their historical period combine with motivations for attending the exhibition (such as being motivated by the exhibition’s theme) and have a clear positive influence on one’s emotional experience of the exhibition overall. The results of thematic analyses pertaining to the interview responses provide evidence that visitors processed both the emotional and historical content in the exhibition—indicative of having contemplative experiences and often processing the exhibition content in relation to themselves. These findings have implications for designing future exhibitions and contribute to our broader understanding of how modern-day audiences perceive and respond to historical art exhibitions and the work they comprise

Emotions, singing, and well-being

The work of emotion where music has been used for explicit well-being outcomes has been understudied. For example, the successful use of choral singing with marginalised groups is well established, but it has been most typically reported as means of providing opportunity for improved health particularly related to physical outcomes such as improved breath control or social activity. The work of emotion in expressing and managing feelings as well as expanding sense of self in relation to maintaining and expanding social relationships has been less investigated. By focusing on emotion, the current study purposefully aimed to expand the scope of the discourse and understanding of music’s role in well-being outcomes for individuals, small groups and the broader community. Two case study choirs were explored: a same sex and gender diverse youth chorus and a community senior choir. Thematic analyses of these rich data revealed the importance of emotions as corporeal, relational, socio-political and performative experiences, and emphasised the centre role of emotions across different age groups and group contexts. The research highlights the need to consider the work of emotions in social group contexts and also the power of emotions when experienced in musical contexts in particular. The present results highlight the significant and central role of emotions in gaining at least some of the well-being benefits associated with singing. Drawing on the PERMA model of well-being as a lens to interpret the results, implications arise when considering how to design and facilitate group singing opportunities for older adults

A qualitative exploration of aged-care residents' everyday music listening practices and how these may support psychosocial well-being

Strategies to support the psychosocial well-being of older adults living in aged-care are needed; and evidence points toward music listening as an effective, non-pharmacological tool with many benefits to quality of life and well-being. Yet, the everyday listening practices (and their associated specific psychosocial benefits) of older adults living in residential aged-care remain under-researched. The current study explored older adults' experiences of music listening in their daily lives while living in residential aged-care and considered how music listening might support their well-being. Specifically, what might go into autonomous listening activities? 32 Australian residents (aged 73–98) living in two Australian care facilities participated in semi-structured interviews. The results of a qualitative thematic analysis revealed three themes pertaining to "previous music experiences and interest," "current music listening," and "barriers to listening." While an interest in and access to music did not necessarily result in everyday listening practices, of those participants who did listen to music, perceived benefits included outcomes such as entertainment, enjoyment, relaxation, and mood regulation. Drawing on Ruud's notion of music as a "cultural immunogen" supporting well-being and Self-Determination Theory, theoretical implications of the findings are addressed, relating to how to create and support music activities in aged-care facilities so that they are engaging, meaningful, and promote emotional regulation, community, and well-being

Transactional culture of the portfolio career chamber musician: A case study

The literature and case study data presented in this chapter explore the micro- (interpersonal) and macro-level (organisational/cultural) experiences between professional chamber musicians, the venues that engage them, and the audiences in attendance. They are explored in terms of a series of transactions—acts of giving and receiving and embracing the need to compromise. From this perspective, emergent themes include the delicate balancing of economic, esteem, and diversification values for both performers and venue in planning; music cohesion and interpersonal social interaction as important at all levels and across all stages of planning and executing performances; and considerations of the balance between familiar and novel encounters, informality, and experiences of social inclusion regarding interactions amongst performers and audience members. It is clear that both specific and subtle transactions shape the motivations, planning, and execution of ensemble performances. While stakeholders all inevitably have different and varied experiences, their transactions contribute to the virtuous cycle of the embedded environmental social, cultural, material, and technological factors and the action afforded that constitutes chamber music performance. The “art of ensemble performance” seems to be a distributed process that is dependent on critical interdependent transactions amongst all stakeholders

The transactional culture of chamber music performance now and into the future

Background: Professional chamber musicians, the venues that engage them and the audiences in attendance interact, deploying values related to artistic skill and endeavour, public engagement and entertainment, prestige and financial viability. Plans, actions and responses feed the scope, quality and outcomes of the experience and require indepth understanding particularly as we grapple with the challenges COVID-19 presents to the live music performance ecology. Aim: This study investigates the experiences of professional chamber ensembles as they encounter musical and social demands, manage communications and deliver performances in a concert series within a premier venue. It aims to offer insights into micro (interpersonal) and macro (organisational/cultural) experiences between musicians, venue and audiences. Method: Case study data come from 15 chamber ensembles (each comprising 2-5 players) participating in a concert series in a renowned Australian live music venue. These were first collected across 2019 and included: contextual information provided by the venue and the ensembles via email; field observations of the performances; and focus group discussions with performers, venue staff and audiences. Data were prepared (transcribed where necessary) and analysed using Interpretative Phenomenological Analysis. Additional data have been collected following the first two waves of COVID-19, to offer insights into prospects for the ensembles and the venue entering the 2021 concert season. Results: Emergent themes include the delicate balancing of economic, esteem and diversification values for both performers and venue in planning and accepting the work. Music cohesion offers a further point of emphasis, the ‘art of the ensemble’ being a key value for all stakeholders. A related theme of importance is interpersonal social interaction, at all levels and across all stages of planning and executing the performances. Pivotal factors surrounding the audience experience include depth of emotional experience, a balance between familiar and novel encounter, informality and experience of social inclusion. Conclusion: Specific and often subtle transactions shape the motivations, planning and execution of ensemble performances. While stakeholders inevitably have different and varied experiences, their interactions are pivotal in determining satisfaction and continue the virtuous cycle of transactions that constitutes chamber music performance. Implications: Fluid and responsive transactions seemingly sustain stakeholders in seeking routes to realise a ‘Covid Normal’ future in which the culture of ensemble performance can continue, now to be moderated using socially distanced, no-interval live performance and online variants suitable for potential lockdowns