Peter Peters is endowed professor in the innovation of classical music at the Faculty of Arts and Social Sciences, Maastricht University. His background is in sociology and philosophy. He holds a PhD for his dissertation on mobilities in technological cultures, in which he combines insights from social theory and science and technology studies (STS) to analyze practices of travel. Before coming to Maastricht University, he worked as a classical music journalist and critic. From 2008 to 2013 he was professor in the research centre âAutonomy and the Public Sphere in the Artsâ at Zuyd University, Maastricht. Here, he developed research on artistic research and its relation to science and technology studies, as well as site-specific art, and art in the public sphere.
His current research combines a life long passion for music with an interest in how artistic practices can be a context for doing academic and practice-oriented research. In previous years, he worked on an ethnography of a project at the Orgelpark in Amsterdam aimed at building a baroque organ for the 21st century. It explores how this project draws on historical and contemporary practices of pipe organ building. More recently, his research focuses on innovating classical music practices, especially symphonic music. Together with Stefan Rosu, he developed the research lines in the MCICM: the role of classical music and its value for society; the ways in which the relationship between performers of classical music, such as symphony orchestras and their audience is mediated; and the ways in which classical music practices contribute to the preservation of our cultural and social sounding heritage. With Ruth Benschop and Stefan Rosu he wrote the application for the NWO/SIA funded Artful Participation project that combines strategic research into reasons for the declining interest in symphonic music with artistic research to innovate this practice in an artistically relevant way.
At the MCICM, Peter will play a leading role in developing interdisciplinary academic and practice oriented research that combines reflection with making and performing, hence its focus on artistic research. Together with the staff of the MCICM and of the partner institutes, Peter hopes to design experiments in practice that will lead to new models for the symphonic practice and build (Eu)regional and international research consortia and partnerships.
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Gerald Mertens is the editor-in-chief of the magazine 'das Orchester.'
Anna Bull is a lecturer in Education and Social Justice, in the Department of Education at the University of York.
Lukas Pairon is initiator and founding director of SIMM, the international research platform focused on the possible Social Impacts of Making Music.
Hannah Conway is a composer, presenter and music director and has been involved in projects such as Streetwise Opera and Sound Voice.
Stefan Rosu is CEO and artistic director of philharmonie zuidnederland. He is the initiator of the Maastricht Center for the Innovation of Classical Music (MCICM).
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The diversity and complexity of conditions in which the polish philharmonics function, constitute a set of challenges. One of them is the right management of people. Management is the art of decision making, which in such complex environment can determine the style of functioning and acting to build the future by skilful application of available limited resources and artistic teams.
Musicians belongs to the groups of professionals and so-called knowledge workers. That influence the way they should be treated to achieve the most dreamed goal â the highest quality of music performance. The evaluation of effective management must include workerâs satisfaction and musicians therefore, as the important stakeholders, require appropriate attention.
A lot of articles were dedicated in the past to the leadership styles of conductors and the psychology of the orchestra while the managerial issues were not enough touched. This may change with the idea of managing quietly of H. Mintzberg. He completed a concept of the managing quietly.
Quiet management creates the conditions that foster openness and release energy as the professionals require little direction and supervision. They do require protection and support. Considering the trends of professionalization of work and constant need of professional workers it should not be overlooked.
In my article/presentation I would like to investigate management method used by the orchestra managers and its impact on musicianâs engagement, organizational identity, creativity and internal motivation. The correlations between performance, control and innovation would bring new light to the organizations, which consist mostly of highly trained professionals.
MaĆgorzata Kaczmarek - a PhD student at the Doctoral School of Social Sciences at the University of ĆĂłdĆș (faculty of management). Expert in the field of music with more than 20-years experience. Professionally connected with the Lodz Philharnonic - specialist in organization and programming of the institution's activities: coordinator and producer of over 1000 artistic projects, curator of the "Colors of Poland" Touring Festival of the Lodz Philharmonic. Her interests focus on effective management in cultural institutions, organizational culture, economics of culture and economic and social aspects of philharmonic and orchestras activity in Poland.
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The Artful Participation project was a four-year project, funded by NOW/SIA, in which researchers together with musicians and staff from philharmonie zuidnederland seeks to further innovate the practice of symphonic classical music by asking what it means to participate in it as an audience.
The project ran from 2017 to 2021. Artful Participation was a collaboration between philharmonie zuidnederland, Maastricht University, and Zuyd University of Applied Science (the research centre for Arts, Autonomy & the Public Sphere, and Conservatorium Maastricht).
Veerle Spronck conducted ethnographic research in order to closely examine how four symphonic orchestras in the Netherlands are innovating participation in their everyday practices. In researching these orchestras, she questions how participation varies across actors and activities, how the materiality of symphonic music shapes the possibilities for participation, and how new meanings and values emerge when orchestras are innovating participation.
Ties van de Werffâs postdoc focused on learning from observing and experimenting. Together with musicians and staff from philharmonie zuidnederland, Ties worked on five experiments and observed three experimental concerts with the objective of learning what is needed to take the audience seriously as a potential artistic partner in orchestral practice.
Veerle Spronck is a PhD candidate in the Philosophy department at the Faculty of Arts and Social Sciences since September 2017. She works for the Maastricht Centre for the Innovation of Classical Music (MCICM). In her PhD research, âListen Closely: Innovating Participation in Symphonic Musicâ, she ethnographically examines how symphony orchestras are experimenting with (audience) participation in their everyday practices. She is associate lector, researcher and professor at HKU and creator of the podcast Kunstmatig.
Trained as interdisciplinary scholar in Science & Technology Studies (STS) and practical philosophy, Ties van de Werff is interested in the ethics of societal engagement practices, both in the arts and in the sciences. He sees these practices as forms of encultured ethics. Ties's aim is to cultivate an ethical sensibility and responsive attitude among artists, designers, scientists and engineers.
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George Floydâs killing in May of 2020 opened Pandoraâs box on anti-Black racism across the globe. In the U. S. creative sector, headlines abounded disclosing ways in which the creative sector marginalizes and oppresses Black Americans. In June of 2020, an unidentified group used Instagram, @operaisracist, to share anonymous stories about their experiences with racism in opera (Chang, 2020).
The Black Opera Alliance (BOA) emerged after this to, âempower Black classical artists and administrators by exposing systems of racial inequity and under-representation of the African diaspora in all facets of the industry and challenge institutions to implement drastic reform.â BOA released A Pledge for Racial Equity and Systemic Change in Opera on September 14, 2020. The Pledge asked the opera industry to commit to manifesting racial equity for operaâs Black cultural workers. Still, on October 29, 2020, Black Administrators of Opera (BAO) released a Letter to the Opera Field from Black Administrators because the industry proved unready for change. In closing, the letter stated, âCertain members of the BAO elected to remain anonymous for fear of retaliation.â Although the BOA and BAO have made progress using Blacktivism to advocate for racial justice, some levers of power remain obstructed by operaâs White supremacy culture.
Therefore, in this single presentation paper, I use phenomenology to explore the research questions, how and why do Black opera administrators censor or silence themselves when advocating for racial justice in response to White opera professionalsâ fragility (DiAngelo, 2018) and rage (Anderson, 2017)?
Dr. Antonio C. Cuyler 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. and editor of a forthcoming volume, Arts Management, Cultural Policy, & the African Diaspora. He is Director of the MA Program and Associate Professor of Arts Administration at Florida State University (FSU), Visiting Associate Professor of Theatre & Drama at the University of Michigan, and Founder of Cuyler Consulting, LLC, a Black-owned arts consultancy.
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Over the last four years, the AEC â European Association of Higher Music Education Institutions (HMEIs) â has worked intensely on the topic âStrengthening Music in Societyâ. The concluding position paper1 identifies an important topical assignment for HMEIs: "A balanced view that puts artistic and educational values firmly alongside the demands of a professional marketplace is vital. Maintaining a dynamic flow between artistic craft and imagination on the one hand, and societal relevance and engagement on the other, is a central and growing challenge.â
In order to take on this challenge, we want to explore the role of HMEI in inducing artistic progress within the professional artistic field, by actively and collaboratively connecting tradition with innovation in organisations, institutes, audiences, even politics. After all, Conservatoires hold a pivotal position as curators of the past and as breeding ground for the artists of the future.
Lies Colman is a (collaborative) pianist, performer and doctoral researcher with an academic background in cultural anthropology. She focuses her artistic, pedagogical and research activities on the innovation of the classical music profession, and connects this with pedagogy, performance and management. She is artistic director of the Classical Music Programme and the Educational Master of Music at the Royal Conservatoire of Antwerp, and is member of the board for the independent European Quality Enhancement body MusiQuE.
Susanne van Els (1963) is one of the leading musicians of her generation. She was known for undertaking adventurous collaborations with the other arts - significant composers like Louis Andriessen wrote new viola works for Susanne. After a truly satisfying international career as a soloist and a chamber musician, she started to work in higher education. Susanne is a member of the Learning & Teaching working group of the Strengthening Music in Society project of AEC, the European Association . She performs forward-thinking work on assessment and curriculum development in higher music education.
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During the COVID-19 pandemic, many older adults living at home have experienced extreme social isolation and a lack of meaningful contact. Simultaneously professional musicians have been heavily restricted from carrying out their work. A group of classically trained musicians who specialize in participatory practices in healthcare settings with vulnerable audiences began reaching out to isolated older adults through virtual music-making online. Utilising their person-centred approach to participative music-making, the musicians learned about the challenges of migrating their physical practice online, which required balancing between the disembodiment of virtual contact and finding new ways to safeguard the humanity of person-centred music-making. The musicians learned to create a sense of âlivenessâ to their virtual participants through careful consideration of (1) the musical approach, (2) building an appropriate social (virtual) space, and (3) managing their self-development.
This exploration of responding to the musical and social needs of isolated older adults during a global pandemic was documented in reflective journals by two teams of professional musicians and analysed by researchers of the research group Lifelong Learning in Music. The research outcomes were published in the Journal of Music, Health and Wellbeing in Autumn 2021.
This symposium presentation focuses on the possibilities of reaching vulnerable audiences in a meaningful way through virtual music-making. The presentation sheds light on the professional development of classically trained musicians migrating online during the global pandemic, and the role of classical music for establishing contact with isolated older adults in virtual settings.
Dr. Krista de Wit (nĂ©e Pyykönen) works as a member of the research group Music in Context of the Research Centre Art & Society. She is a senior researcher in music in healthcare. She works as a teacher at Prince Claus Conservatoire of Hanze University of Applied Sciences Groningen (NL) and as a violinist in Foundation MiMiC Muziek, which provides person-centred music in various healthcare contexts. Krista earned her doctorate in November 2020 at the University of Music & Performing Arts in Vienna. In January 2021, Krista was a finalist for the Dutch Research Councilâs Synergyâ21 Research Award. Krista has studied her MA and MA in Music Education at the Royal College of Music in Stockholm, where her master research into creating a participatory music practice for elderly people with dementia was awarded with the Kerstin Eliasson-prize of Excellence in Research in 2013.
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Gendered and sexual misconduct is a widespread problem in virtually every part of the society, including the classical music scene. This paper, based on interviews with fourteen Finnish white ciswomen professional musicians, offers an in-depth reading on how social fabrics and condition create predispositions for abuse of power, and gendered and sexual harassment.
I ask how understandings of gender and sexuality, traditional hierarchies, and common practices of classical music allow for gendered and sexual misconduct, and abuse of power. With gendered and sexual misconduct, I refer to harassment, and grooming, as well as bullying, and generalized sexist statements. With abuse of power, I refer to emotional abuse such as belittling, humiliation, intentional denial of attention, harsh and cruel comments, and setting up for failure. To understand underlying inequality, I use the notion of âsocial imaginariesâ (Moira Gatens [1997] 2003) to examine how beliefs about gender and sexuality, power hierarchies, representations, metaphors, and images are represented in the experiences of misconduct, and abuse of power.
By drawing upon Jennifer S. Hirsch and Shamus Khanâs (2021 [2020]) understanding of power I analyse how power is distributed through associated imaginaries and in the socio-cultural conditions, such as social spaces specific to classical music practice. I argue understandings and values associated with gender, sexuality, and moral, partly normalize gendered and sexual misconduct, and abuse of power. Lastly, in this presentation I seek to outline ways in which gendered and sexual misconduct, and abuse of power can be prevented.
Anna Ramstedt (M.Mus. and M.A.) is a pianist, piano teacher and music research PhD student affiliated with the University of Helsinki, Finland. In her multidisciplinary dissertation she focuses on inequality, whiteness, and gendered and sexual misconduct, and abuse of power within the classical music scene in Finland. As an activist researcher she participates in the Finnish societal debate around inequality within classical music. Based in Amsterdam, she is currently a visiting PhD Student in University of Utrecht (NL).
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Livestreaming Classical Music Concerts - This session looks at how livestreaming has been used in the classical sector since the start of the COVID-19 pandemic, and how artists and organisations can communicate with and build new audiences through livestreaming. Findings from Middlesex University's recent research project, Livestreaming Music in the UK (www.livestreamingmusic.uk) will be shared with the delegates.
Based on interviews and a large scale survey, the project examined musicians' and audiences' experience and expectations of livestreamed concerts during the pandemic. Topics such as emotional engagement during livestreams, making live music accessible through streaming, and income generation will be discussed, and conference delegates will be asked to share their experiences, to build up a picture of best practice from around the world. The aim of the session is to share new research on livestreaming concerts and to discuss livestreaming as a way of increasing audiences, in the wake of the pandemic.
Julia Haferkorn is the Programme Leader of the MA Classical Music Business at Middlesex University in London. Prior to joining academia, she worked in the music sector for over 20 years. Initially at Peters Edition, she promoted the music of John Cage, Rebecca Saunders and Brian Ferneyhough. Julia founded the artist management company Haferkorn Associates (1998-2014) and the production company Third Ear Music (2010-date). She has worked with a range of artists, including Apartment House and the Arditti Quartet, and has set up concerts and tours all over Britain and world-wide. Other posts include Artistic Director of the British Composer Awards (2014-16) and Artistic Director of the Chinese New Year celebrations on Trafalgar Square (2015-19). She recently led a research project into the livestreaming of concerts, funded by the Economic & Social Research Council in response to Covid-19 and is the co-editor of the 2018 book 'The Classical Music Industry'.
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In 2019, the danish orchestra organization, DEOO, asked RasmussenNordic to spearhead an investigation amongst ensembles and symphony orchestras on the subject: What are the danish orchestras practices and capabilities regarding audience development and business development? The investigation was a first step to boost innovation in the classical music sector. 10 organizations were investigated, 24 qualitative interviews were conducted and an analysis across data was carried out.
What did we uncover? The orchestras could develop new formats for new audiences, so in an artistic perspective, they were doing well. But the overall challenge was to turn this ability into innovation in the shape of strategic audience- and business development.
SĂžren Mikael Rasmussen is one of the founding partners of RasmussenNordic (2014). He is specialized in innovation, strategy, and leadership in the cultural sector. Over the years he has been working with orchestras and music halls in Denmark, Norway, and Sweden.
He has worked in the media business, where he has been an executive for a number of years in Danish Broadcasting Corporation and TV2 Denmark. Here he was head of cultural programming.
Educated in both journalism and innovation, he has conducted many research projects over the years. The latest research projects have been within the field of digitalization.
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Welcome by Peter Peters, director of MCICM11:00 - 11:15
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Roundtable: Orchestras, Ensembles and Impact with Gerald Mertens, Anna Bull, Lukas Pairon, Hannah Conway & Stefan Rosu11:15 - 12:00
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Break12:00 - 13:00
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Quiet Management with MaĆgorzata Kaczmarek13:00 - 13:30
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Artful Participation: Doing Artistic Research with Symphonic Audiences with Veerle Spronck and Ties van de Werff13:00 - 14:00
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(Un)Silencing Blacktivism in Opera: A Letter to the Opera Field from Black Administrators with Antonio C. Cuyler(Un)Silencing Blacktivism in Opera: A Letter to the Opera Field from Black Administrators with Antonio C. Cuyler13:30 - 14:00
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BreakCoffee/tea break with fellow participants14:00 - 15:00
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Round table: Higher Music Education Institutions as driving forces in society with Lies Colman & Susanne van Els15:00 - 16:00
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Break16:00 - 16:30
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Keeping the lines open: Virtually mediated person-centred musicmaking with isolated vulnerable older people during the COVID-19 pandemic with Krista de Wit16:30 - 17:00
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âYou Are Just So Used To Tolerate Anythingâ â Gendered and Sexual Misconduct, and Abuse of Power in the Classical Music Scene in Finland with Anna Ramstedt16:30 - 17:00
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Live streaming Music in the UK with Julia Haferkorn17:00 - 17:30
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What are the Danish orchestras practices and capabilities regarding audience development and business development? with SĂžren Mikael Rasmussen17:00 - 17:30
Recap of Day 1 with Denise Petzold, PhD at MCICM, Neil T. Smith, Postdoc at MCICM, and Peter Peters, chair of MCICM.
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The proposed paper refers to the concept of "music as activity" presented by Christopher Small in his book âMusicking. The Meanings of Performing and Listeningâ. According to Small, the meaning of music should not be found merely in the score. It also should be sought in the activities associated with the performance and listening of a musical work. (âMusic is not a thing at all but an activity, something that people doâ; Small 1998; 2). Relationships between organized sounds are meaningful for music (in the musical score) and for humanity (for establishing purely human relationships).
A good example of such thinking and of the usefulness of classical music in enlivening social activity in its periphery is the Bach Festival in Ćwidnica (Poland), organized in 2000. The festival primarily focuses on the presentation of Bachâs music, showing it in different musical contexts and takes place in beautiful architectural churches and monasteries in Ćwidnica and nearby towns (one of them is an unusual timber-framed building known as the Church of Peace). For the 21 years of its existence, the festival has contributed to revitalizing social relations in these locations, restoring the significance of the historical-cultural heritage, and offering opportunities for attendees to become more familiar with classical music. I will explain how this remarkable project came to be.
Bogumila Mika â PhD, Assoc. Prof. in the Institute of Arts Studies, Faculty of Humanities, University of Silesia in Katowice, Poland. She graduated from the Academy of Music in Katowice (music theory and composition). She earned a PhD in sociology of music at the University of Silesia, Katowice. She obtained her habilitation in musicology at the Jagellonian University, Cracow. She published three monographs, more than sixty articles and chapters in scholarâs books. She presented papers at many seminars and conferences in Europe and the US. Her research focuses mainly on 20th century music, intertextuality in music and social aspects of music
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As part of our 2015 UK Arts & Humanities Research Council-funded âClassical Music Hyper-Productionâ project, we conducted a series of recording experiments with classical repertoire using techniques drawn from popular music. One of these experiments involved the Konvalia String Quartet using electric instruments through a series of guitar effects pedals to perform Shostakovichâs 8th String Quartet. This was performed live at Kingâs Place, London and in a studio version at the London College of Music, University of West London. This presentation explores the musical choices involved in performing the effects - distortion, wah-wah, phasing, flanging, delay and reverb - for the studio version and a subsequent spatial audio mix using Dolby Atmos.
The recently completed studio version involves a four stage process: The quartet performed the piece in much the way they would have done with their acoustic instruments â playing together as an ensemble but stopping, starting and performing âpatchesâ to improve sections in otherwise good takes. Secondly, there was an editing process to compile the final recorded performance. Thirdly, Bourbon and Zagorski-Thomas performed the effects in a similarly fragmented manner to create a version with timbral and ambient processing. They produced a dub mix of each of the parts that aimed to fashion an appropriate but novel musical narrative based on their musical analysis. Finally, Bourbon has produced a spatial narrative using Dolby Atmos which stages the four instruments (plus effects) in ways which further enhance and manipulate various musical relationships and dynamics.
Simon Zagorski-Thomas is Professor at the London College of Music (University of West London) and is founder and chair of the 21st Century Music Practice research network with over 250 members in 30 countries. He was the co-founder of the Art of Record Production conference, now in its 18th year, and, until 2017 was also co-chair of the Association for the Study of the Art of Record Production. Simon led the UK AHRC-funded Performance in the Studio and Classical Music Hyper-Production projects. He worked for 25 years as a composer, sound engineer and producer and is, at present, conducting research into 21st Century Musical Practice. His books include Practical Musicology (forthcoming in June 2022), two Ashgate edited collections on The Art of Record Production, the Bloomsbury Handbook of Music production (co-edited with Andrew Bourbon) and the Musicology of Record Production (winner of the 2015 IASPM Book Prize).
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Throughout history, classical music has experienced invisible borders separating it from mainstream society. In addition to abstract borders, I believe thereâs a more literal barrier preventing optimal interaction between classical music and society â geographical borders.
Historically, classical music has been an important tool to bolster national pride and identity. As communication technology blurs borders to create an international artistic community, itâs important to foster cross-cultural connections through travel and engagement with local communities. This classical music tourism allows musicians to break down geographical borders, which allow a greater cultural understanding between audience and performer.
By developing cross-cultural musical experiences, musicians can break down borders through travel and musical anthropology. This allows musicians to experience history firsthand to develop a more personal connection with their music while allowing them to connect with local cultures, which expands the borders of classical music both literally and abstractly. Classical music tourism also allows more opportunities to deconstruct the traditional concept of concert halls by performing in everyday venues such as cafés, libraries, and other cultural hubs.
Music is the lifeline of communities â it brings people together and reflects shared experiences. Classical music tourism allows musicians and local communities to understand other cultures through music. By programming works which highlight each communityâs cultural history, musicians celebrate the unique contributions of a locale while viewing these through new lenses to engage a larger audience. In turn, this makes classical music more relevant to modern audiences as they celebrate their history to create a richer musical legacy.
Jenny Clarinet has been featured in The Clarinet and the Clarineat podcast and has been named one of Feedspotâs âTop 20 Clarinet Blogs, Websites, and Influencers to Follow.â To date, she has published over 330 articles which have been read in over 177 countries and translated into multiple languages, and she has contributed articles which have been featured in The Clarinet, Vandoren WAVE newsletter, Deutsche Klarinetten-Gesellschaft, Rodriguez Musical Services blog, and Lisaâs Clarinet Shop blog. Her first book, an examination of unaccompanied clarinet repertoire, is currently in publication. Jenny Maclay is a Vandoren Artist-Clinician and performs exclusively on Vandoren reeds, mouthpieces, and ligatures.
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Memory, research and modernity are the key elements that follow a unique path in terms of effects and sounds. Honouring the past in order to have a dialogue with the present is the ambitious goal of this project. Dario Doronzo propose a wide-ranging repertoire that finds its roots in the complex and elegant reinterpretation in a modern key of compositions and arias of the cultured sphere. A continuous dialogue, without ever dropping tension, between spaces, dynamics, virtuosities, colors, synergistically merging into a music of new breath that finds in the revisitation the fulcrum of its knowledge. Fil rouge is the theme of the "re-reading", a stylistic and aesthetic figure suitable for joining two such different worlds as classical music and the more fluid modern Jazz.
The project retraces a path in synergy with the ideas of the French philosopher Paul Ricoeur who states that the music rises above the intentions of the authors of classicism who created them to 'produce' and 'recreate' another meaning, autonomous and new, in which explanation and understanding are united and not contrary in the interpretative process.
"Disassemble" and "reassemble" classical works with modifications and variations on a melodic, harmonic, timbric and rhythmic level leads the listener to fully savor the true value of compositions which, still today, continues to surprise us. The Italian Opera regain a new power and path in the actual time. An incessant panta rei of landscapes, sounds, colors that refer to distant cultures, a continuous and fruitful inspiration for new sonorities that, after hundreds of years, still move the mysterious strings of our soul.
Dario Savino Doronzo, graduated in Trumpet, Jazz Music, Direction for Choir, Technology of Sound. He has performed, as a soloist, in major Concert Halls: Carnegie Hall of New York, Thelonious Jazz Club of Buenos Aires, Auditorium Juan Victoria of San Juan (Ar), University of Arts of Tirana (Al), SKG Bridges Festival of Thessaloniki (Gr), Yasar University of Izmir (Tr), Ciglana Jazz Klub of Belgrade (Cs), University of Coimbra (Portugal), Piacenza Jazz Fest, Auditorium Parco della Musica of Rome (It), etc. He is also graduated and perfected in Construction and Sound Engineering. Moreover, in the field of musicological research, he has written appreciated essays and papers on trumpet practice and jazz performance. He has contributed to books of musicological research, including âC. Parker and the Bebop Languageâ, âAnalytic Approach to Sequenza X by L. Berioâ, âAn Interpretative Approach to M. Davisâ, âDichotomy and synergy between Louis Armstrong and Bix Beiderbeckeâ, âThe cornet Ă pistons and its prophet, Joseph Jean-Baptiste Laurent Arbanâ. For DiG Label he recorded with the pianist Pietro Gallo the CD Reimagining Opera (feat. Michel Godard at Serpent). He has conducted courses in Italy and abroad (Argentina, Greece, Serbia, Turkey, Portugal, etc.). He taught Jazz Trumpet at âS. Ceciliaâ Conservatory in Rome. He actually teaches Trumpet at âA. Casellaâ Conservatory in LâAquila.
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The Deutsche Staatsphilharmonie Rheinland-Pfalz has an international staff, but like most German Orchestras it does not represent the population structure of its urban popoulation, the cities of Ludwigshafen and Mannheim. People with a descendance from Turkey and the geographic area of the Near and Middle East represent the largest non-European minorities here. Within the framework of the present study, 62 permanently employed musicians with a descendance from Turkey or a country in the Near and Middle East were identified in the 129 professional orchestras with a total of 9,766 positions in Germany. By interviewing a total of ten permanent and freelance musicians, the aim was to gain a sound understanding of individual and personal situations, experiences and biographies from the aforementioned target group in order to derive concrete strategies for action for the institution. This involves personnel development, promotion of young talent, application procedures and program design, but also the positioning in terms of educational policy and reaching diverse audiences.
Since hardly any studies have been conducted on this topic to date, this survey is a pilot study.
Our reaction to the findings
Historically, classical music has undergone a process of democratization: In the 18th century, access was reserved for the nobility. Today's municipal theater and orchestra system grew out of the bourgeoisie in the 19th century, which strove for its own places of representation. In the conception of a competence center for music follows the next logical step, which makes orchestras today fit for the future: the transformation of classical music and its orchestras in a plural society as an incubator of a sound creation "by" all "for" all. Music history was already written in the Electoral Palatinate Kurpfalz in the 18th century. The "Mannheim School" was the best orchestra of its time, at the same time a training center and innovation machine for musical life and a forward-looking model of a competence center for music. After World War I, the Deutsche Staatsphilharmonie Rheinland-Pfalz was founded out of the midst of society. The foundation was based on a fundamental need for an orchestra that could provide the population with its music - symphonic music in the understanding of the time. The "2nd Mannheim School" takes up this historical model and expands it by actively involving the pluralistic society with its different expertise in the design of the modular music ensemble. In cooperation, a cross-genre and cross-music-culture competence center and a new understanding of music and its practice emerges.
André Uelner studied classical singing and worked as a singer and choir director from 1994. Various city and state theaters, festival and tour experience. Since 2000 first contact with systemic work. In 2007 he was trained as a theater pedagogue and began to accompany (music-)theater projects of all sizes and content with people from various backgrounds. While the fields of singing and (music-)theater pedagogy initially ran parallel, they increasingly merged into a process-oriented music theater pedagogical activity. After a position as head of the Education Program at the Festspielhaus Baden-Baden, he was deputy head of school at the TheaterpÀdagogische Akademie of the Theaterwerkstatt Heidelberg. Since June 2019 he is agent for diversity development at the Deutsche Staatsphilharmonie Rheinland-Pfalz in Ludwigshafen am Rhein. André Uelner lives with his family in Mannheim-Seckenheim.
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The time of the pandemic in which we still live has made the issue of various types of borders more relevant than ever. In all spheres of life, the speech about borders (as constraints) inevitably imposed the crisis as a central topic of discussion, and this is, of course, reflected in the realm of classical music. Concert activities fell silent; numerous ensembles and performers stopped working temporarily or permanently; the audience remained outside the concert halls. While the physical world has become unsafe for life and health, the digital world has emerged as a more secure place, full of potential and new opportunities for overcoming emerging barriers in the field of classical music.
Before the pandemics, digital presentation of classical music performance was not a practice in Serbia. From March 2020 (when the Covid 19 pandemic was officially announced in our country), this situation has changed, so digital concerts and online communication with the audience are becoming essential activities. In this paper, we will show how classical music left its canon-guaranteed spaces and stepped into the virtual sphere via the Internet on the example of the work of the Belgrade Philharmonic. We will analyze how this orchestra uses internet resources - Facebook, YouTube channel, and website, to present and promote its repertoire and work during the period of pandemic measures and restrictions.
Biljana LekoviÄ, Ph.D., musicologist, assistant professor at the Department of Musicology, Faculty of Music in Belgrade. She is also a lecturer at the interdisciplinary master studies of the Department of Theory of Arts and Media, University of Arts in Belgrade. She is the vice president of the Centre for Popular Music Research. Her fields include contemporary music, new media practices, sound art, sound studies, and acoustic ecology. She is the author of two books: Modernist Project of Pierre Schaeffer â From Radiophony Analysis to Musical Research (2011) and Sound Art/Zvukovna umetnost: Musicological Perspective â Theories (2019).
Sanela NikoliÄ, Ph.D., Assistant Professor of Applied Aesthetics, Faculty of Music, University of Arts in Belgrade; graduated from the Department of Musicology at the Faculty of Music, Belgrade, and obtained a doctoral degree from the Interdisciplinary Studies at the University of Arts, Belgrade, the Ph.D. program for Theory of Arts and Media. One of the editors of AM Journal of Art and Media Studies. In addition to numerous scholarly texts, she is the author of the two books: Avangardna umetnost kao teorijska praksa â Black Mountain College, DarmĆĄtatski internacionalni letnji kursevi za Novu muziku i Tel Quel [Avant-garde art as a Theoretical Practice â Black Mountain College, Darmstadt International Summer Courses for New Music, and Tel Quel, Belgrade 2015] and Bauhaus â primenjena estetika muzike, teatra i plesa [Bauhaus â Applied Aesthetics of Music, Theater, and Dance, Belgrade, 2016]. She is the International Association for Aesthetics Delegate-at-Large (2019â2022) and a member of the Serbian Musicological Society and Serbian Society for Aesthetics of Architecture and Visual Arts. Fields of interest: avant-garde art schools and practices; applied aesthetics as a critical history of the humanities; interdisciplinarity and transdisciplinarity in the humanities; digital humanities.
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Music is a Janus-faced phenomenon. As a culturally significant practice, music can â depending on the point of view â prove to be a medium either for the ethically âgoodâ or âbadâ and can both include and exclude people socially.
In the field of so-called classical music, until now itself a symbol of power and claim to domination of the white bourgeoisie, rather evoking social delimitation and cultural exclusion of âothersâ, an artistic-educational field of practice has developed in recent years and decades, whose actors specifically deal with possibilities of musical and cultural participation of different and heterogeneous population groups as well as with questions of social and cultural inclusion via music. The development and implementation of artistic-educational formats like new concert formats or community projects form the core of this practice that is called Musikvermittlung (audience and community engagement) in the German speaking countries. Central concerns of Musikvermittlung include bringing people with different social and cultural backgrounds together and in action, to get them involved in discursive and artistic interaction, to empower them with, through and around the means of (classical) music, in short: to instigate social communication and entice them towards new kinds of aesthetic experience. Transcending the realm of music, knowledge and skills acquired through the participation in Musikvermittlung practices may also have a socio-political impact by empowering and enabling people to take over an active role as citizen.
In our paper we will draw on two concrete projects and formats of Musikvermittlung to illustrate the ways in which the attempts of cultural and social participation via music is initiated: the âklangberĂŒhrtâ series at the Vienna Konzerthaus and the âOpen Doors!â partnership between the Vienna Musikverein and the Brunnenpassage Vienna. Furthermore, we will argue that the special potential of Musikvermittlung, that is âdoing universalityâ, can especially become effective in a contemporary âsociety of singularitiesâ (Andreas Reckwitz 2020), which may help to explain the current success of this artistic-educational practice and point to its greatest potential.
Axel Petri-Preis (PhD) is a senior scientist and deputy head at the department of music education research, music didactics and elementary music education (IMP) at mdw â UniversitĂ€t fĂŒr Musik und darstellende Kunst Wien. He studied music education, German philology and musicology in Vienna. He has been active in the field of Musikvermittlung (audience and community engagement) internationally, and his projects have received several awards. His research focuses on the education and further training of (classical) musicians in relation to Musikvermittlung and on community engagement in classical music life.
Sarah Chaker (Dr. phil.) studied musicology and German language at the Carl von Ossietzky University of Oldenburg. She is currently an assistant professor at the Department of Music Sociology (IMS) at the mdw â University of Music and Performing Arts Vienna. Her research interests include street music, the transdisciplinary analysis of music, histories, theories and methods of music sociology, popular music (in particular metal music) and Musikvermittlung.
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In the ever-accelerating all-pervading screen culture, all art aspires as much to the immersion of moving images as to âthe condition of musicâ (Walter Pater). In this paper, I use Lars Ellestromâs (2020) intermedial theory to illustrate the âaLivenessâ of orchestral music when seen on screen. In the audiovisual form, musicâs internal structure and patterns are made intelligible, and its pleasures accessible and enjoyable, to a much wider audience.
Live or not live, all any performance art aims for is to come âaliveâ to its audience. Philip Auslanderâs (2008) âlivenessâ is about being connected to people. aLiveness is about being connected to the work of art. I define aLiveness as that which occurs when a perceiver becomes conscious that the perceived work of art is presenting, with least ambiguity, its most essential truthâthe truth of its form and content, and aesthetic and affect.
Ellestrom suggests that when a text is transferred from one medium to another, it is transformed. Music as notations on paper is transferred to sound when performed by musicians, and then to moving images when the performance captured with multiple moving cameras is edited into a cinematized concert. A meaningful transfer means âkeeping something, getting rid of something else, and adding something newâ, and it involves two stages: deconstruction of the source text (performance on stage) and reconstructing it to fit into the target medium (screen). Imbued into the transformed art are the traces of these two processes, and therein lies the potential for aLiveness.
Sureshkumar P. Sekar is a third year PhD candidate from the Royal College of Music, London, and a RCM Studentship holder. He holds an MA with distinction in Creative Writing from the University of East Anglia. As part of his PhD, he is investigating the experience of the audience attending Film-with-Live Orchestra concerts. His forthcoming publication is a video essay entitled âFilm-with-Live-Orchestra Concerts: A New Hopeâ in the peer-reviewed, audiovisual academic journal [in]Transition.
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This session will focus on the last four years of research within MCICM and the plans for the future.
Denise Petzold will talk about her research 'Resisting Closure: A Museum Studies Approach to Performing the Canonic Heritage of Symphonic Music.'
Neil Smith will talk about his research 'Locating the Orchestra: Widening Participation through Spatial Innovation.'
Denise Petzold is an interdisciplinary researcher and PhD candidate within the MCICM.
In the past, she has worked as an assistant curator at the contemporary art museum Ludwig Forum fĂŒr Internationale Kunst in Aachen, Germany, where she co-organised two large-scale exhibitions and assisted with editing the accompanying publications.
In her PhD project at the MCICM, Denise aims to bring together her background in the arts with classical music. In her research, she critically examines what is considered the cultural heritage of classical music today, how this heritage is maintained through the canon and thus also through actual musical practices, and, ultimately, how innovation of this heritage can be initiated from âwithinâ the community of classical music itself by considering novel contexts and strategies inspired by contemporary and/or performing arts as well as museum studies.
Neil Thomas Smith trained as a musicologist and a composer. His research focuses on contemporary musical culture with specialisms in new German music, composition, and intersections between music, urbanism and architecture. His articles have appeared in Music&Letters, TEMPO, Contemporary Music Review, Cultural Sociology, the Journal of the Royal Musical Association, and the British Journal of Sociology. His monograph on composer Mathias Spahlinger was published in 2021 by Intellect.
At the MCICM, Neil has been researching performance spaces and concert halls in particular. He recently undertook a study with IMPACT Scotland, who are attempting to build a new concert hall in Edinburgh. Forthcoming publications from this research highlight the planning hearing as an arena in which debate over culture takes place, and the role of materials within cultural controversy.
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Recap of Day 1 (10:45-11:00)(10:45-11:00)10:45 - 11:00
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The importance of Bachâs compositions for activity on borderlines between music and society. The example of Bachâs Festival in Ćwidnica (Poland) with Bogumila Mika11:00 - 11:30
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Creating a Dub Version of Shostakovichâs 8th String Quartet with Andrew Bourbon and Simon Zagorski-Thomas11:00 - 11:30
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Classical Music Tourism: Blurring Borders through Cross-Cultural Experiences with Jenny Maclay11:30 - 12:00
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Reimagining Opera with Dario Savino Doronzo and Daniele Sardone11:30 - 12:00
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Break12:00 - 13:00
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Study 0,63 % How diverse are Orchestras? with AndreÌ Uelner13:00 - 13:30
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The Internet as a space for the creation of classical music experiences within the time of pandemic â the case of Belgrade Philharmonic Orchestra with Biljana LekoviÄ and Sanela NikoliÄ13:00 - 13:30
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Doing Musikvermittlung = Doing Universality (!?) with Axel Petri-Preis & Sarah Chaker13:30 - 14:00
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Liveness, Aliveness, and Accessible Audiovisualisation of Orchestral Music with Sureshkumar P. Sekar13:30 - 14:00
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Break14:00 - 14:30
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Looking back at four years of MCICM with Denise Petzold, Neil Smith and Peter Peters14:30 - 15:15
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Closing by Peter Peters15:15 - 15:30
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Closing by Peter Peters15:15 - 15:30
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After-event discussionJoin fellow participants for an informal after-event chat15:30 - 16:00