In this article, I consider implications of outreach practices in the field of contemporary music for the field itself and for the professional artists involved. I am interested in what happens if we facilitate access to contemporary music for audiences of any kind of demographic, break down barriers, share authority between participating non-professionals and professional artists and allow all participants of a project influence on jointly created artworks. I investigate in how far the organisational or structural change in the creative practice and the creative outcome – that comes along with bringing new players into the field – has consequences on the personal practice of the professional actors in such a project. I base my article on theories of sociologist Pierre Bourdieu, communication scholar Henry Jenkins, art historian Claire Bishop, musicologist Elena Ungeheuer and my own research into social structures of the contemporary art field, and apply them to a single case study: the artistic research project TransCoding – From ‘Highbrow Art’ to Participatory Culture, funded by the Austrian Science Fund. Using the method of thick description, I take the reader through the history of TransCoding, give account of field experiences and put the found patterns of cultural-social experiences into a theoretical context. I investigate the power shifts from professional artists to audience that occurred on the basis of creative, participatory processes within this project. In doing so, I would like to raise questions and stimulate discussion with regard to the conditions and social organisations of creative practice in the contemporary music field, the distribution of power and how this is felt when ‘bringing new audiences to new music’ into the core practice of professional artists, the actual creation of a new work.

中文翻译：

---

转码参与式文化中的赋权和赋权

在本文中，我考虑了当代音乐领域的外展实践对该领域本身和所涉及的专业艺术家的影响。我感兴趣的是，如果我们为任何人群的观众提供当代音乐的访问，打破障碍，在参与的非专业人士和专业艺术家之间分享权威，并允许项目的所有参与者对共同创作的艺术品产生影响，会发生什么。我研究了创意实践中的组织或结构变化以及创意成果——伴随着新参与者进入该领域——对此类项目中专业演员的个人实践的影响。我的文章基于社会学家 Pierre Bourdieu、传播学者 Henry Jenkins、艺术史学家 Claire Bishop 的理论，转码——从“高雅艺术”到参与式文化，由奥地利科学基金资助。用粗描的方法，带读者穿越历史转码，考虑实地经验，并将已发现的文化-社会经验模式置于理论背景中。我调查了在这个项目中的创造性、参与性过程中发生的从专业艺术家到观众的权力转移。在此过程中，我想就当代音乐领域创作实践的条件和社会组织、权力的分配以及“将新观众带入新音乐”时的感受提出问题并激发讨论。专业艺术家的核心实践，新作品的实际创作。