Karen Burland is an Associate Professor in Music Psychology at the University of Leeds. Her published research focuses on jazz audiences and their engagement in live performances in different contexts; the environmental conditions leading to childhood musical success and the professional development of musicians during career transitions; professional and amateur musical identities; and music therapists’ use of music technology in therapeutic settings. Karen is a member of the SEMPRE committee and Reviews Editor for British Journal of Music Education. Stephanie Pitts is a Professor of Music Education at the University of Sheffield, UK and author of A Century of Change in Music Education (Ashgate, 2000), Valuing Musical Participation (Ashgate, 2005) and Chances and Choices: Exploring the Impact of Music Education (2012).

'... a worthy addition to the relatively sparse literature on audience psychology.' Opera Today ’Coughing and Clapping ... stimulates the reader to consider areas of practice which are familiar but also reveals the less familiar; it invites the reader to question established values and norms in a range of performance settings; it challenges the reader to explore his/her own role within performance, and also to look forward to developments in both research and practice which this highly-recommended volume will surely facilitate and inspire’. Musicae Scientiae ’This excellent, thought-provoking collection ... . A key strength of this book is its broad definition of the performance event, including anticipation before and the sharing of memories long afterwards. Its variety of methodologies and approaches to studying the live encounter is also a valuable contribution, and there are many methods of enquiry here which would transfer well to the study of theatre audiences ... This is a trajectory of enquiry and activism it is vital to follow further, and in more than music - in the wider arena of the arts as a whole’. Participations: Journal of Audience & Reception Studies

• Chapter 1 Prelude, Stephanie Pitts, Karen Burland; Before the Event; Chapter 2 Marketing Live Music, Daragh O’Reilly, Gretchen Larsen, Krzysztof Kubacki; Chapter 3 Musical, Social and Moral Dilemmas, Stephanie Pitts; Chapter 4 Safe and Sound, Robert Kronenburg; During the Event; Chapter 5 Interlude – Audience Members as Researchers, Stephanie Pitts, Karen Burland; Chapter 6 The Value of ‘Being There’, Jennifer Radbourne, Katya Johanson, Hilary Glow; Chapter 7 In the Heat of the Moment, Catherine J. Stevens, Roger T. Dean, Kim Vincs, Emery Schubert; Chapter 8 Texting and Tweeting at Live Music Concerts, Lucy Bennett; Chapter 9 Moving the Gong, Karen Burland, Luke Windsor, Christophe de Bézenac, Matthew Bourne, Petter Frost Fadnes, Nick Katuszonek; Chapter 10 Context, Cohesion and Community, Sidsel Karlsen; Chapter 11 Interlude – Lasting Memories of Ephemeral Events, Karen Burland, Stephanie Pitts; Chapter 12 ‘The Gigs I’ve Gone To’, Sara Cohen; Chapter 13 Warts and All, Paul Long; Chapter 14 Staying Behind, Melissa C. Dobson, John Sloboda; Chapter 15 Postlude, Karen Burland, Stephanie Pitts;