Classical Concert Studies: A Companion to Contemporary Research and Performance

Cover
Half Title
Title Page
Copyright Page
Table of contents
Figures
Tables
Acknowledgments
Contributors
Concert Studies
	The Concert: Concert Studies
	Developments in Recent Years
	Overview of the Contributions
		The Concert as an Event
		Programs, Formats, and Media
		Sound— Space— Instruments
		The Audience and the Musicians
		Economy and Policy
		Concert Research
	The International Scope of Concert Studies
	Notes
Part I The Concert as an Event
	1 A Concert Theory
		The Evolution of the Concert
		Developing Models
		Attention as a Prerequisite for Aesthetic Experience
		Affordance
		Concerts around 1850
		The “Classical Concert”
		The Collective Experience
			An Individual Communal Experience
		Conclusion
			Concert Studies
		Notes
	2 Music as Text, Music as Performance
		Notes
	3 4\'33\": The Concert as a Performative Moment
		Cultural Performance
		Events and Incidents
		The Decisive Beat of the Drum
		Notes
	4 The Discovery of Listening in the Concert
		The First Concert Halls
		Music as a Servant, Music as a Master
		Listening to Music as a Form of Metaphysical Communication
		Listening to Music as an Encounter
		The Poetic Side of Modernity
		Availability: The Solution Becomes a Problem
		What Will Become of Aura?
		The Public as a Resonating Body
		Notes
	5 Between Formalization and Exaggeration: An Ethnomusicological Perspective
		The “Strange” …
			Embodiment
			Formalization
			Framework
			Effectiveness and Transformation
			Exaltation
		… And the “Familiar”
			Embodiment
			Formalization
			Framework
			Effectiveness and Transformation
			Exaltation
		Notes
	6 Concert Formats: Liturgy—Ritual—Power?
		Engagement
		Pastime and Professionalism
		The Concert as a Secularized Liturgy
		The Search for Identity between Privacy and Publicness
		Industrialization and the Concert
		Concert Forms and Concert Behavior Today
		In the Year 2020 …
		Notes
Part II Programs, Formats, and Media
	7 From Program Leaflets to Listening Apps: A Brief History of Guided Listening
		1800–1810
		1900–1910
		2000–2010
			Ohrphon and LiveNote
			Interactive Scores and Listening Apps
		Conclusion: Unanswered Questions
		Notes
	8 Space, Light, Proximity: Aspects of Historical Performance Practice
		The Salon
			The Salon as an Event
			The Significance of Making Music
			Music for Music’s Sake
			Physical Proximity
			Interrelationships
		The Concert Hall
			Lieder Recitals in Public Concerts
			Program Concepts
			The Concert Hall as a Gender-Neutral Space
			Musicians as Intermediaries of Culture
		Outlook
		Notes
	9 Preludes, Fantasias, and Collages: Improvisation, a Forgotten Art in the Classical Concert
		Unexpected and Unforeseen
			The Beginnings of Improvisation in Formal Music
			Baroque Improvisation
		Preludes and Fantasias
		Ornamentation
			Improvisation in the First Viennese School
		Cadenzas
			Publishing and Amateur Music
		Canonization and the Concept of a Musical Work
			Interpretation and Faithfulness to the Original
		Outlook: The Reauratization of the Concert
			Appendix
		Notes
	10 Concert Design: Form Follows Function
		Concert Design
		Experiencing Music
		Attention
		The Concert as an Organism
			Performance Times, Audience (1, 2)
			Admission: The Evening Begins Long Before the First Note (3)
			Architecture (4)
			Setting or Spatial Planning (5)
			Participation (6)
			Context (7)
			Dramaturgy (8)
			Performance (9)
			Light (10)
			End (11)
		Conclusion
		Notes
	11 Musical Curator and Concert Director
	12 The Yellow Lounge Reinvents the Concert Forum
		Notes
	13 Strategies for the Production of Presence
		The Production of Presence
		Strategies for the Production of Presence
			Spiritualization
			Visualization
			Theatricalization
		Conclusion
		Notes
Part III Space—Sound—Instruments
	14 Noise and Sound: The Historicity and Sociability of the Senses
		The Historical Development of Institutions
		The History of Sensation and Perception
		Notes
	15 From Sound to Noise: The History of Hearing in the Nineteenth and Early Twentieth Centuries
		The Big City Surge
		The Fight against Noise
		Crescendo
		On the Phenomenology of Noise
		Measuring Noise
		Notes
	16 The Soundscape of Vienna: Pictorial Essay
		Notes
	17 The Cultural Dimensions of Atmospheres: Sociological Observations of the Resonanzraum in Hamburg
		Chamber Music in the Bunker
		Architectural Atmospheres and the Sociology of Art
		Atmospheric Dimensions in Hamburg’s resonanzraum
			Historical Dimensions
			Sensory and Aesthetic Dimensions
			Political Dimensions
		Performative Spatial Productions for Classical Music
		Notes
	18 A Sociological Reflection on the Concert Venue
		The Traditional Concert Hall
		A Change of Scenery? The “Un-usual” Concert Hall
		The “Extra-ordinary” Concert Hall
			Excursus: Neue Musik
		Conclusion
		Notes
	19 Cinema for the Ears: Technical Developments in Acoustics and Loudspeaker Systems
		The Acoustical Perception of Space
		Why Space?
		The Sound Dome, the Acousmonium, and the Wave Field Synthesis System
		Conclusion
		Notes
	20 Digital Encore: Virtualization, Live Coding, and New Interfaces
		Virtualization: The Digital Pop Icon
		Algorithmically Generated Compositions
		Live Coding
		Prostheses, New Interfaces, and Wearables
		Sonic Bodies
		Robotic Music
		Conclusion
		Notes
Part IV The Audience and the Musicians
	21 Between Audience Decline and Audience Development: Perspectives on the Professional Musician, Music Education, ...
		Vocational Training in Classical Music: Too Much and Missing the Market?
		A Growing Discrepancy between Supply and Demand
		The Demographics of the Consumers of Classical Music: Few Young People, Many Old People
		Prospects for Development
		Notes
	22 Musical, Social, and Moral Dilemmas: Investigating Audience Motivations to Attend Concerts
		Who Goes to Concerts—And Why?
		Turning Up and Fitting In: Empirical Evidence from Jazz and Classical Music Audiences
		Self and Others in Audience Motivation
		Keeping Music (A)live: Musical and Moral Responsibilities
		Conclusions and Future Challenges
		Notes
	23 Studying Music … and Then What?
		The Graduate Study
		The Graduate Study Program in the Context of International Research: Chances and Challenges of Freelance Work
		Conservatoire Studies
		Notes
	24 “Playing Concerts Is Not Enough”: On the Identity of the Deutsche Kammerphilharmonie Bremen
		Notes
	25 Women in Music Culture: A History of (Non-)Participation?
		Compositions versus Cultural Activism
		Access to Education
		Women’s Spaces
		Female Vocalists
		Female Instrumentalists and Gender-Specific Instruments
		Orchestras
		Female Conductors
		Obstacles
		Social (Dis)similarity
		Notes
	26 The Konzerthaus Berlin: A Concert Hall in Transition
	27 Audience Development and Engagement
		The Establishment of a Canon of Knowledge in the Concert Hall
		Music Education Provided by Orchestras, Teaching Artists, and Concert Halls
		Current Formats of Audience Development, Audience Engagement, and Musical Outreach
			Before and After the Concert
			During the Concert
			In the Midst of the Community
		Laying Tracks into Music
		Stumbling Blocks along the Way
		Notes
Part V Economy and Policy
	28 The Influence of Economic Variables in the Concert Industry
		Note
	29 Roll Over Beethoven …: Notes on Concerts under Conditions of the Culture Industry
		“Classic,” “Pop”
		Culture Industries, Music as a Commodity
		Music in the Age of Technological Reproducibility
		Work and Pleasure
		Notes
	30 The Dematerialization of Music: How Streaming Technology Impacts Music Production and Consumption
		Introduction
		Streaming as the Savior of the Industry
		Streams versus Sales and the End of Price Differentiation
		Growth, Growth, Growth: Licensing Catalogs and the Implications for Streaming Services
		No Room for Niches: Why Small Players Don’t Really Stand a Chance
		Mass versus Class: Implications for Labels and Musicians
		When Fans Become Consumers
			Maximizing Consumption
			The Playlist Paradox
			Unbundling the Album Format
			The Return of Vinyl and a Booming Live Concert Scene
		Conclusion
			Acknowledgments
		Notes
	31 The “New Classic”
		Notes
	32 Actors in the Classical Music Business: A Media Discourse Analysis
		Methodological Approach
			Scope of Analysis
		Results
			Description of Discourse: Tendencies and Opinions
			Structure of the Debate
				The Concert in Crisis
				Education and Audience Development
				Socialization and Image
				Innovation and Performance Culture
				Cultural Policy and Financing Culture
				The Role of Spokespeople
		Discussion of Our Findings
			Theoretical Framing and Interpretation
		Notes
Part VI Concert Research
	33 A Manifesto of Concert Culture
		Concert Design
		Context and Interdisciplinarity
		Meaningfulness
		Artistic Media Organization
		Epilogue
			Comments
		Notes
	34 Concerto21: A Didactic Introduction for Concert Development
		Concerto21—An Incubator for Innovation
			Nominators and Fellows
			Phase I
			Phase II
			Phase III
			Phase IV
			Evaluation and Development of Curriculum
		Notes
	35 The Researching Orchestra: Innovative Collaborations between Symphonic Orchestras and Knowledge Institutions
		Introduction
		Creating the Maastricht Centre for the Innovation of Classical Music
		Artful Participation
			Performing Musical Works
			How Can Audiences Participate?
		The Collaboration with Philharmonie Zuidnederland
			The Working Group Innovation
			Shaping the Collaboration
		Conclusion: Toward a Learning Model
		Notes
	36 The Classical Concert as an Object of Empirical Aesthetics
		The Concert as a Medium
		Live
		Interactive
		Research Perspectives
		Notes
Index