音樂會蘊涵豐富的社會性。以古典音樂會為例，社會性容易透過不同參與模式展現出來。本文參考現代都會公共場合的活動，以及近代音樂會演變的文獻，並藉助在兩場鋼琴獨奏會收集的問卷資料（N=189）和實地觀察所得， 提示古典音樂會所具有的不同社會性。演奏者在居住城市以外所舉行的音樂會，具有比較明顯的藝術欣賞功能；反之在本地所舉行的演奏會則展現比較強列的主會聯繫特質。以藝術欣賞為主要動機的音樂會參與者，多半有其共同特徵，尤其是社會階層和生活型態所建構的身份認同文化。藝術欣賞活動的社會性基於這些共同特徵，在音樂會中潛而不顯。以社會聯繫為骨幹的參與模式，則透過參與者的直接聯結和社會互動，得以具體彰顯其社會性。本文以多項實例比較這兩種音樂會參與模式的社會性，進而反省現代都會公共場合中的社會秩序。

　　　　　Concerts embrace various forms of sociability. Such sociability emerges in classical music concerts that differ in how the audiences participate. Situated in the study of public places in the modern metropolis on the one hand, and the development of the Western classical concert on the other, this article compares two piano recitals to reveal contrasting play forms of soiability. Empirical data include questionnaire surveys of the audiences (N=189), in-depth interviews, and observations. In the recital held away from the performer's hometown, most of the audience come exclusively to enjoy classical music. While the participants of the recital rarely know one another, they share a common interest, socioecon omic status, and lifestyle. This common ground paves the may for sociability to breed in the concert. By contrast, many people participate in the recital given in the performer's hometown for social purposes, rather than classical music. Most members of the audience are closely connected to one another. They also know the performer much better through various social ties. Sociability of the concert flourishes out of such social ties not just in the recital, but also before and after the recital, when the participants interact and communicate intensively regarding the event. Based on these major findings, the study moves on to reflect on the privatization of the modern social life.