Classical Music Futures: Practices of Innovation | Soundmain
Classical Music Futures: Practices of Innovation

PDF Classical Music Futures: Practices of Innovation January 30, 2024

2024 07 07 20 36 14

This volume brings together contributions from a wide range of international academics and practitioners. It traces innovations within classical music practice, showing how these offer divergent visions for its future. The interdisciplinary contributions to the volume highlight the way contrasting ideas of the future can effect change in the present.

A rich balance of theoretical and practical discussion brings authority to this collection, which lays the foundations for timely responses to challenges ranging from the concept of the musical work, and the colonial values within Western musical culture, to unsustainable models of orchestral touring. The authors highlight how labour to meet the demands of particular futures for classical music might impact its creation and consumption, presenting case studies to capture the mediating roles of technology and community engagement.

This book will be of interest to scholars and students in the fields of musicology and the sociology of music, as well as a general audience of practitioners, freelance musicians, music administrators and educators.

Notes on Contributors

Karen Burland is Professor of Applied Music Psychology in the School of Music, University of Leeds. She is University Academic Lead for Surfacing Skills and Student Futures and Faculty Lead for Employability, Opportunity and Ambition (Faculty of Arts, Humanities and Cultures). She researches musical identities and their role in musical participation in a variety of contexts. She is investigating the ways in which musicians create and support their work in music, and researching the role of music for wellbeing. She has recently been Academic in Residence at Opera North, working on an ethnographic study of the organisation, looking particularly at aspects of artistry, community, and identity. Her book Coughing and Clapping: Investigating Audience Experience, edited with Stephanie Pitts, was published in December 2014. ORCID

Noga Rachel Chelouche is a doctoral student in musicology at Tel- Aviv University, Israel. In her dissertation she explores renewed modes of classical music in the twenty-first century, concentrating on contemporary multimedia works by various artists. She holds a bachelor’s degree in musicology and humanities and a master’s degree in musicology from Tel-Aviv University. In her MA thesis, she analyzed multimedia works by the contemporary artist Anri Sala, through which she suggested musicological research based on the juxtaposition of music and visual art. Noga works as a writer and editor in the program department of the Israel Philharmonic. ORCID

Antonio C. Cuyler, Ph.D. (he/him/his) is Professor of Music in Entrepreneurship & Leadership in the School of Music, Theatre & Dance (SMTD) at the University of Michigan. He is the author of Access, Diversity, Equity, and Inclusion in Cultural Organizations: Insights from the Careers of Executive Opera Managers of Color in the U. S., editor of Arts Management, Cultural Policy, & the African Diaspora, and author or co-author of twenty-five peer reviewed articles that appear in journals including the American Journal of Arts Management, International Journal of Arts Management, and International Journal of Social, Political and Community Agendas in the Arts. Most recently, he co-authored the League of American Orchestras report ‘Racial/Ethnic and Gender Diversity in the Orchestra Field in 2023’. He also founded Cuyler Consulting, LLC, a Black-owned arts consultancy that partners with cultural organizations to maximize their performance and community relevance through access, diversity, equity, and inclusion (ADEI). ORCID

Krista de Wit, PhD, works at the Research group Music in Context of the Research Centre Art & Society and as a teacher at Prince Claus Conservatoire at Hanze University of Applied Sciences Groningen (NL). Her research focuses on live music and professional musicians in healthcare contexts. She received her doctorate in November 2020 from the University of Music & Performing Arts Vienna (AT). Krista’s PhD-research focused on what live music practices can mean for the well-being and learning of care professionals both in elderly care homes and in hospitals, and how they can contribute to the work of the care professionals, hence to the quality of care. Previously, Krista has worked as a teacher at the Royal College of Music in Stockholm, and as a music educator, community music pedagogue and performing musician in Sweden and Finland. Krista’s previous master’s research into creating participatory music practices for elderly people with dementia in Stockholm was awarded with the Kerstin Eliasson Prize for Excellence in Research in 2013. In 2022, Krista received the Herta & Kurt Blaukopf Award for her PhD- research by the University of Music & Performing Arts Vienna. ORCID

Brandon Farnsworth is a Swiss National Science Foundation postdoctoral researcher in musicology and music curator based at Lund University, Sweden. His current project, ‘Another Break with Tradition?’, is an ethnographic analysis of how diversity initiatives are changing an experimental music festival in Norway. After studying at the Zurich University of the Arts, he completed his PhD in Dresden with the publication ‘Curating Contemporary Music Festivals’ (2020, Transcript). As a music curator, Brandon has worked on projects with Ultima Festival Oslo, Montreal New Musics Festival, Sonic Matter Zurich, the Berlin New Music Society, and Malmö Konsthall. ORCID

As a format author active at the point where art, social politics, and personal development meet, Hans-Joachim Gögl has gained insights from innovation research, religious rituals, and artistic strategies, all of which are elements found in many of his works. Together with the Berlin concert designer Folkert Uhde, he is the founder and artistic director of the ‘Montforter Zwischentöne’ in Feldkirch, Austria. The HUGO International Competition for New Concert Formats, developed by Hans-Joachim Gögl and Folkert Uhde as part of the festival, is regarded today as one of the foremost young awards for innovative performance practice in the German-speaking world. Since 2018, Hans-Joachim Gögl has been directing the series ‘INN SITU – Photography, Music, Dialogue’ at the BTV Stadtforum Innsbruck, which he conceptualized and initiated. Various teaching assignments and publications by Hans- Joachim Gögl can found at

Christina Guillaumier, Reader in Music & Cultural Practice at the Royal College of Music (London), is a music historian and pianist with an early background in the dramatic arts. Dr Guillaumier is a highly sought after writer and broadcaster on music and the arts. She is a Fellow of the Royal Society of Arts (FRSA) and a Senior Fellow of the Higher Education Academy (SFHEA). She is also a peer reviewer for several academic journals and publishing houses. Dr Guillaumier is an editor for Baerenreiter publishing house, specializing in critical editions of piano music. ORCID

Maria Hansen has worked in performing arts for almost thirty years. She was fundraiser and later executive director of Opera Liner Ottawa until 1985 and for eleven years Maria managed the Netherlands Bach society. In 2007 she became managing director of the municipal theatre and concert hall Philharmonie of Haarlem, and after ten years in Harlem she made the move to ELIA, the globally connected network of higher arts education based in Amsterdam.

Kirsteen Davidson Kelly was the Creative Learning Director of the Scottish Chamber Orchestra, which is based in Edinburgh, UK, until 2022. Kirsteen was a founder member of the innovative piano group Piano Circus and has a PhD in musicians’ mental rehearsal strategies from the University of Edinburgh. She is now Chief Executive Officer of the National Youth Orchestras of Scotland.

Amanda E. Krause is a Lecturer (Psychology) in the College of Healthcare Sciences at James Cook University (Queensland, Australia). She also currently serves as President of the Australian Music & Psychology Society. As a music psychology scholar, she studies how we experience music in our everyday lives. Her research asks how our musical experiences influence our health and well-being. Dr Krause’s research has made significant contributions to understanding how listening technologies influence people and how musical engagement impacts well-being. Recent publications and further information can be found on her website at ORCID

Robert Laidlow is a composer and researcher at the University of Oxford. His “gigantically imaginative” (BBC Radio 3) music is concerned with discovering and developing new forms of musical expression through the relationship between advanced technology and live performance. Laidlow’s music exploring the intersection of classical music, artificial intelligence, and creativity includes Silicon (2022) for the BBC Philharmonic, Post-Singularity Songs (2023) for Stephanie Lamprea, and Tui (2024) for International Contemporary Ensemble. He is currently a Fellow in Composition at Jesus College, Oxford University. From 2018-22 he was the PRiSM PhD Researcher in Artificial Intelligence in association with the BBC Philharmonic. ORCID

George E. Lewis is a composer, musicologist, technological artist, and trombonist. He is the Edwin H. Case Professor of American Music at Columbia University and is a fellow of the American Academy of Arts and Sciences, the American Academy of Arts and Letters, a Corresponding Fellow of the British Academy, and a member of the Akademie der Künste Berlin.
Первый выпуск
0.00 звёзд 0 оценок

Все файлы проверенны   


To express gratitude to the project

Обсудить ресурс Для правообладателей Получить поддержку

Другие ресурсы пользователя SoundMain