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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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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 resonanzraum in 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 Index
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 resonanzraum in 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 Index
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