ABSTRACT
Some people invest considerable time and resources in musical activity, often basing their social lives around it and defining themselves in relation to it as musicians, fans or otherwise. Theories of escape, rebellion and distinction help to explain these practices, but largely fall short of identifying what is specific to music that might attract such devotion. Peak music experiences are an important source of motivation for people’s continuing musical practice and scene participation. As embodied experiences they provide an intrinsic reward that is often described as both therapeutic and addictive. As memories and sought-after ideals they represent what people hold important and why, acting as affirmations of identity. In the scene-related ‘careers’ of musicians, organisers and others, peak music experiences anchor narratives of fulfilment, vindication and success, as well as a contrasting narrative of authenticity in which the direct pleasures of musical experience are prioritised over other, extrinsic motivations for musical practice. Peak music experiences can be manifestations of both symbolic capital and internal goods, working to motivate and direct participation in music scenes.
