Copyright
Peter Peters; Neil T. Smith; Karoly Molina. Copyright of individual chapters are maintained by the chapter author(s).Published On
2024-01-30ISBN
Language
- English
Print Length
430 pages (xviii+412)Dimensions
Weight
Media
Funding
OCLC Number
1419383163THEMA
- AVLA
- AVM
- AVA
BIC
- AVA
- AVGC
- AVGC4
- YQB
BISAC
- MUS006000
- MUS020000
- MUS041000
Keywords
- Classical music
- Innovations
- Interdisciplinary
- Decolonization of classical music
- Technology
- Community engagement
Classical Music Futures
Practices of Innovation
- Neil Thomas Smith (editor)
- Peter Peters (editor)
- Karoly Molina (editor)
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.
Endorsements
This wide-ranging volume is an excellent contribution to current examinations of classical music and its possible future directions. The chapters cover a wide range of international contexts and frame important issues in stimulating ways. This impressive volume will be of interest to anyone interested in the future of classical music.
Adam Whittaker
Royal Birmingham Conservatoire
Contents
Classical Music Futures: An Introduction
(pp. 1–28)- Neil Thomas Smith
- Peter Peters
Roundtable 1: Whose Future?
(pp. 29–40)- Neil Thomas Smith
- Maria Hansen
- Kirsteen Davidson Kelly
- George E. Lewis
Classical Music has a Diversity Problem
(pp. 41–58)- Brandon Farnsworth
- Neil Thomas Smith
- Hannah Bujic
- Francine Gorman
- Fiona Robertson
Until George Floyd: An Afrofuturist Perspective on the Future of Classical Music and Opera
(pp. 81–90)- Antonio C. Cuyler
The Voice Party: A New Opera for a New Political Era
(pp. 91–102)- Lore Lixenberg
Becoming a Classical Musician of the Future: The Effects of Training and Experience on Performer Attitudes to Innovation
(pp. 103–126)- Stephanie Pitts
- Karen Burland
- Tom Spurgin
The Global Conservatoire: Towards an Integrated Approach to Developing Twenty-First-Century Artists
(pp. 127–152)- Diana Salazar
- Christina Guillaumier
Meaningful Music in Healthcare: Professional Development and Discovered Identities of Classical Musicians Working in Hospital Wards
(pp. 153–176)- Krista de Wit
- Beste Sevindik
Roundtable 3: Orchestras in a Changing Climate
(pp. 177–190)- Neil Thomas Smith
- Peter Peters
- Teemu Kirjonen
- Detlef Grooß
- Jan Jaap Knoll
- Georgina MacDonell Finlayson
Is It Time for Brahms, Again?: The Many Roles of Classical Music in the German-Speaking Lands in 2023
(pp. 191–204)- Jutta Toelle
The Environmental Sustainability of Symphony Orchestras: Challenges and Potential Solutions
(pp. 205–228)- Stine Skovbon
- Denise Petzold
Futuring Classical Music through Contemporary Visual Art: Innovative Performance and Listening in the Works of the Artist Anri Sala
(pp. 253–276)- Noga Rachel Chelouche
Changing Rooms: A Diary of Spatial Innovation
(pp. 277–298)- Neil Thomas Smith
Monsieur Croche: Concerts at Eye Level
(pp. 299–314)- Tal Walker
- Folkert Uhde
- Hans-Joachim Gögl
Audiences of the Future: How Can Streamed Music Performance Replicate the Live Music Experience?
(pp. 333–354)- Michelle Phillips
- Amanda E. Krause
Artificial Intelligence and the Symphony Orchestra
(pp. 355–378)- Robert Laidlow
Ghosts of the Hidden Layer
(pp. 379–400)- Jennifer Walshe
Contributors
Neil Thomas Smith
(editor)Neil Thomas Smith is a researcher and composer, teaching at the University of Edinburgh and the Open College of the Arts. Between 2018 and 2022 he was a postdoctoral researcher at the Maastricht Centre for the Innovation of Classical Music, where his research focussed on orchestras’ attempts at spatial innovation, both inside the concert hall and beyond. Neil has also worked on German contemporary music and sociological examinations of ‘emerging’ composers, with articles appearing in journals including Music & Letters, Cultural Sociology, Contemporary Music Review, the Journal of the Royal Musical Association, Tempo, and the British Journal of Sociology. His first monograph, a critical companion to the composer Mathias Spahlinger, was published in 2021; while a debut disc of chamber music, Stop Motion Music, was released in 2023.
Peter Peters
(editor)Peter Peters is endowed professor in the innovation of classical music and associate professor at the Faculty of Arts and Social Sciences, Maastricht University. 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 twenty-first century. More recently, his research focuses on innovating classical music practices, especially symphonic music. Together with Stefan Rosu, director of Philzuid (South Netherlands Philharmonic), he developed the research lines in the Maastricht Centre for the Innovation of Classical Music: 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.
Karoly Molina
(editor)Karoly Molina is currently a researcher and support staff for the Maastricht Centre for the Innovation of Classical Music, a collaboration between Maastricht University, Zuyd University of Applied Sciences and the South Netherlands Philharmonic (philzuid). Karoly completed her BA in English literature at Texas A&M University and her MA at Maastricht University. Before her work at MCICM, Karoly taught English language and literature and worked as a translator.