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Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies. This companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research.
Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies. This companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research.
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Autorenporträt
Martin Tröndle is the WÜRTH Chair of Cultural Production at Zeppelin University, Germany, and a principal investigator of ECR-Experimental Concert Research, a project that investigates aesthetic experience in the classical concert. He is also Co-Editor-in-Chief of the peer-reviewed Journal of Cultural Management and Cultural Policy.
Inhaltsangabe
List of figures
List of tables
Acknowledgements
List of contributors
Concert Studies
I. The Concert as an Event
1. A Concert Theory
2. Music as Text, Music as Performance
3. 4'33"
The Concert as a Performative Moment
4. The Discovery of Listening in the Concert
5. Between Formalization and Exaggeration: An Ethnomusicological Perspective
6. Concert Formats: Liturgy-Ritual-Power?
II. Programs, Formats, and Media
7. From Program Leaflets to Listening Apps: A Brief History of Guided Listening
8. Space, Light, Proximity: Aspects of Historical Performance Practice
9. Preludes, Fantasias, and Collages: Improvisation, a Forgotten Art in the Classical Concert
10. Concert Design: Form Follows Function
11. Musical Curator and Concert Director
12. The Yellow Lounge Reinvents the Concert Forum
13. Strategies for the Production of Presence
III. Space-Sound-Instruments
14. Noise and Sound: The Historicity and Sociability of the Senses
15. From Sound to Noise: The History of Hearing in the Nineteenth and Early Twentieth Centuries
16. The Soundscape of Vienna: Pictorial Essay
17. The Cultural Dimensions of Atmospheres: Sociological Observations of the resonanzraumin Hamburg
18. A Sociological Reflection on the Concert Venue
19. Cinema for the Ears: Technical Developments in Acoustics and Loudspeaker Systems
20. Digital Encore: Virtualization, Live Coding, and New Interfaces
IV. The Audience and the Musicians
21. Between Audience Decline and Audience Development:
Perspectives on the Professional Musician, Music Education, and Cultural Policy
22. Musical, Social, and Moral Dilemmas: Investigating Audience Motivations to Attend Concerts
23. Studying Music . . . And Then What?
24. "Playing Concerts Is Not Enough": On the Identity of the Deutsche Kammerphilharmonie Bremen
25. Women in Music Culture: A History of (Non-)Participation?
26. The Konzerthaus Berlin: A Concert Hall in Transition
27. Audience Development and Engagement
V. Economy and Policy
28. The Influence of Economic Variables in the Concert Industry
29. Roll Over Beethoven . . .: Notes on Concerts under Conditions of the Culture Industry
30. The Dematerialization of Music: How Streaming Technology Impacts Music Production and Consumption
31. The "New Classic"
32. Actors in the Classical Music Business: A Media Discourse Analysis
VI. Concert Research
33. A Manifesto of Concert Culture
34. Concerto21: A Didactic Introduction for Concert Development
35. The Researching Orchestra: Innovative Collaborations between Symphonic Orchestras and Knowledge Institutions
36. The Classical Concert as an Object of Empirical Aesthetics
