In this article, I analyse empirically whether the audience attending classical concerts can be subdivided into three segments — following the lead of Howard Becker's Art Worlds (1984). Moreover, I investigate how far these groups have different aesthetic dispositions towards classical music. Based on an extensive audience survey in five institutions staging both symphonic and chamber music in Flanders, Belgium (2005), three groups are distinguished based on the frequency of attendance: the passers-by, the interested participants and the inner circle. It is found that these segments differ in socio-demographic composition, have different motives for attendance and have different aesthetic dispositions towards classical music. Yet, all segments share the wish to be emotionally moved and affected by music. Implications for cultural policy and marketing the arts are discussed.
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