Due to the current COVID-19 situation, our customers may experience some delivery delays. We apologise for any inconvenience this may cause.

Classical Music: Contemporary Perspectives and Challenges

Classical Music: Contemporary Perspectives and Challenges Michael Beckerman and Paul Boghossian (eds)
Paperback ISBN: 978-1-80064-113-6 £20.95
Hardback ISBN: 978-1-80064-114-3 £30.95
PDF ISBN: 978-1-80064-115-0 £0.00
epub ISBN: 978-1-80064-116-7 £5.99
mobi ISBN: 978-1-80064-117-4 £5.99
xml ISBN: 978-1-80064-118-1 £0.00

Click here to read the PDF online for free Click here to read the HTML online for free

This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from leading composers, performers, academics, journalists, and arts administrators, special focus is placed on classical music’s defining traditions, challenges and contemporary scope. Innovative in structure and approach, the volume comprises two parts. The first provides detailed analyses of issues central to classical music in the present day, including diversity, governance, the identity and perception of classical music, and the challenges facing the achievement of financial stability in non-profit arts organizations. The second part offers case studies, from Miami to Seoul, of the innovative ways in which some arts organizations have responded to the challenges analyzed in the first part. Introductory material, as well as several of the essays, provide some preliminary thoughts about the impact of the crisis year 2020 on the world of classical music.

Classical Music: Contemporary Perspectives and Challenges will be a valuable and engaging resource for all readers interested in the development of the arts and classical music, especially academics, arts administrators and organizers, and classical music practitioners and audiences.



Classical Music: Contemporary Perspectives and Challenges
Michael Beckerman and Paul Boghossian (eds) | March 2021
252 pp. | 15 colour illustrations | 6.14" x 9.21" (234 x 156 mm)
ISBN Paperback: 9781800641136
ISBN Hardback: 9781800641143
ISBN Digital (PDF): 9781800641150
ISBN Digital ebook (epub): 9781800641167
ISBN Digital ebook (mobi): 9781800641174
ISBN Digital (XML): 9781800641181
DOI: 10.11647/OBP.0242
BIC: AVA (Theory of music and musicology), AVGC4 (Classical Music), AVH (Individual composers and musicians, specific bands and groups); BISAC: MUS006000 (MUSIC / Genres & Styles / Classical), MUS020000 (MUSIC / History & Criticism); MUS007000 (MUSIC / Instruction & Study / Composition); OCLC Number: 1245927157.


You may also be interested in:


Table of Contents

List of Illustrations

Author Biographies

Preface Download
Paul Boghossian

Introduction Download
Michael Beckerman

1. The Enduring Value of Classical Music in the Western Tradition Download
Ellen Harris and Michael Beckerman

2. The Live Concert Experience: Its Nature and Value Download
Christopher Peacocke and Kit Fine

3. Education and Classical Music Download
Michael Beckerman, Ara Guzelimian, Ellen Harris and Jenny Judge

4. Music Education and Child Development Download
Assal Habibi, Hanna Damasio and Antonio Damasio

5. A Report on New Music Download
Alex Ross

6. The Evolving Role of Music Journalism Download
Zachary Woolfe and Alex Ross

7. The Serious Business of the Arts: Good Governance in Twenty-First-Century America Download
Deborah Borda

8. Audience Building and Financial Health in the Nonprofit Performing Arts: Current Literature and Unanswered Questions (Executive Summary) Download
Francie Ostrower and Thad Calabrese

9. Are Labor and Management (Finally) Working Together to Save the Day? The COVID-19 Crisis in Orchestras Download
Matthew VanBesien

10. Diversity, Equity, Inclusion, and Racial Injustice in the Classical Music Professions: A Call to Action Download
Susan Feder and Anthony McGill

11. The Interface between Classical Music and Technology Download
Laurent Bayle and Catherine Provenzano

12. Expanding Audiences in Miami: The New World Symphony’s New Audiences Initiative Download
Howard Herring and Craig Hall

13. Attracting New Audiences at the BBC Download
Tom Service

14. Contemporary Classical Music: A Komodo Dragon? New Opportunities Exemplified by a Concert Series in South Korea Download
Unsuk Chin and Maris Gothoni

15. The Philharmonie de Paris, the Démos Project, and New Directions in Classical Music Download
Laurent Bayle

16. What Classical Music Can Learn from the Plastic Arts Download
Olivier Berggruen

Index

Laurent Bayle is the General Manager of "Cité de la musique — Philharmonie de Paris,” a public institution inaugurated in January 2015 and co-funded by the French State and the city of Paris. He started his career as Associate Director of the Théâtre de l’Est lyonnais, and was then appointed General Administrator of the Atelier Lyrique du Rhin, an institution which fosters the creation of contemporary lyric opera. In 1982, he created and became the General Director of the Festival Musica in Strasbourg, an event dedicated to contemporary music and still successful today. In 1987, he was appointed Artistic Director of Ircam (the Institute for Music/Acoustic Research and Coordination), then directed by Pierre Boulez, whom he would succeed in 1992. In 2001, he became General Manager of the Cité de la musique in Paris. In 2006, the Minister of Culture entrusted him with the implementation of the reopening of the Salle Pleyel and with the Mayor of Paris announced a project to create a large symphony hall in Paris. It marked the birth of a new public institution, "Cité de la musique — Philharmonie de Paris,” a large facility including three concert halls, the Musée de la musique, an educational center focused on collective practice, and numerous digital music resources. In 2010, Laurent Bayle implemented a children’s orchestra project baptized Démos, a social and orchestral structure for music education in disadvantaged neighborhoods, a project developed throughout the national territory with the aim of reaching sixty orchestras by 2020. In April 2018, Laurent Bayle was entrusted with the successful mission of integrating the Orchestre de Paris into the Cité de la musique — Philharmonie de Paris.

Paul Boghossian is Julius Silver Professor and Chair of Philosophy at New York University. He is also the Founding Director of its Global Institute for Advanced Study. He was previously Chair of Philosophy from 1994–2004, during which period the department was transformed from an MA-only program to being the top-rated PhD department in the country. He earned a PhD in Philosophy from Princeton University and a B.Sc. in Physics from Trent University. Elected to the American Academy of Arts and Sciences in 2012, his research interests are primarily in epistemology, the philosophy of mind, and the philosophy of language. He is the author of Fear of Knowledge: Against Relativism and Constructivism (Oxford University Press, 2006), which has been translated into thirteen languages; Content and Justification (Oxford University Press, 2008); and the recently published Debating the A Priori (with Timothy Williamson, Oxford University Press, 2020). In addition, he has published on a wide range of other topics, including aesthetics and the philosophy of music. At NYU since 1991, he has also taught at the University of Michigan at Ann Arbor, Princeton University, the École Normale Supérieure in Paris and has served as Distinguished Research Professor at the University of Birmingham in the UK.

Michael Beckerman is Carroll and Milton Petrie Professor and Collegiate Professor of Music at New York University where he is Chair of the Department of Music. His diverse areas of research include Czech and Eastern European music; musical form and meaning; film music; music of the Roma; music and war; music in the concentration camps; Jewish music, and music and disability. He is author of New Worlds of Dvořák (W. W. Norton & Co., 2003), Janáček as Theorist (Pendragon Press, 1994), and has edited books on those composers and Bohuslav Martinů. He is the recipient of numerous honors, from the Janáček Medal of the Czech Ministry of Culture in 1988 to an Honorary Doctorate from Palacký University (Czech Republic) in 2014, and most recently the Harrison Medal from the Irish Musicological Society. For many years he wrote for The New York Times and was a regular guest on Live From Lincoln Center. From 2016-18 he was the Leonard Bernstein Scholar-in-Residence at the New York Philharmonic Orchestra.

Born in Switzerland, Olivier Berggruen grew up in Paris before studying art history at Brown University and the Courtauld Institute of Art. As Associate Curator at the Schirn Kunsthalle Frankfurt, he organized major retrospectives of Henri Matisse, Yves Klein, and Pablo Picasso, and he has lectured at institutions including the Frick Collection, Sciences Po, and the National Gallery in London. In addition to editing several monographs, he is the author of The Writing of Art (Pushkin Press: 2011), and his essays have appeared in The Brooklyn Rail, Artforum, and Print Quarterly. He is an adviser to the Gstaad Menuhin Festival in Switzerland and is a member of the board of Carnegie Hall.

Deborah Borda has redefined what an orchestra can be in the twenty-first century through her creative leadership, commitment to innovation, and progressive vision. She became President and CEO of the New York Philharmonic in September 2017, returning to the Orchestra’s leadership after serving in that role in the 1990s. Upon her return, she and Music Director Jaap van Zweden established a new vision for the Orchestra that included the introduction of two contemporary music series and Project 19, the largest-ever women composers’ commissioning initiative to celebrate the centennial of American women’s suffrage. Ms. Borda has held top posts at the Los Angeles Philharmonic, The Saint Paul Chamber Orchestra, and the Detroit Symphony Orchestra. She currently also serves as Chair of the Avery Fisher Artist Program.

The first arts executive to join Harvard Kennedy School’s Center for Public Leadership as a Hauser Leader-in-Residence, her numerous honors include a Lifetime Achievement Award at the Dallas Symphony Orchestra’s Women in Classical Music Symposium (2020), invitation to join Oxford University’s Humanities Cultural Programme Advisory Council (2020), being named a Woman of Influence by the New York Business Journal (2019), and election to the American Academy of Arts & Sciences (2018).

Thad Calabrese is an Associate Professor of Public and Nonprofit Financial Management at the Robert F. Wagner Graduate School of Public Service at New York University where he currently serves as the head of the finance specialization. Thad has published over thirty peer-reviewed articles and eight books on financial management, liability management, contracting, forecasting, and other various aspects of financial management in the public and nonprofit sectors. He currently serves on three editorial boards for academic journals. Prior to academia, he worked at the New York City Office of Management and Budget and as a financial consultant with healthcare organizations in New York City.

Thad currently serves as the Treasurer for the Association for Research on Nonprofits and Voluntary Action, and also the Chair-Elect of the Association for Budgeting and Financial Management, which he also represents on the Governmental Accounting Standards Advisory Council.

Unsuk Chin is a Berlin-based composer. She is Director of the Los Angeles Philharmonic’s Seoul Festival in 2021, Artistic Director Designate of the Tongyeong International Music Festival in South Korea as well as Artistic Director Designate of the Weiwuying International Music Festival in Kaohsiung, Taiwan.

Antonio Damasio is Dornsife Professor of Neuroscience, Psychology and Philosophy, and Director of the Brain and Creativity Institute at the University of Southern California in Los Angeles.

Damasio was trained as both neurologist and neuroscientist. His work on the role of affect in decision-making and consciousness has made a major impact in neuroscience, psychology, and philosophy. He is the author of several hundred scientific articles and is one of the most cited scientists of the modern era.

Damasio’s recent work addresses the evolutionary development of mind and the role of life regulation in the generation of cultures (see The Strange Order of Things: Life, Feeling, and the Making of Cultures (Random House, 2018-2019)). His new book Feeling and Knowing will appear in 2021. Damasio is also the author of Descartes’ Error (Avon Books, 1994), The Feeling of What Happens (Vintage, 2000), Looking for Spinoza (Mariner Books, 2003) and Self Comes to Mind (Vintage, 2012), which are translated and taught in universities worldwide.

Damasio is a member of the National Academy of Medicine and a Fellow of the American Academy of Arts and Sciences. He has received numerous prizes, among them the International Freud Medal (2017), the Grawemeyer Award (2014), the Honda Prize (2010), and the Asturias Prize in Science and Technology (2005); he holds Honorary Doctorates from several leading universities, some shared with his wife Hanna, e.g. the École Polytechnique Fédérale de Lausanne (EPFL), 2011 and the Sorbonne (Université Paris Descartes), 2015.

For more information go to the Brain and Creativity Institute website at https://dornsife.usc.edu/bci/ and to https://www.antoniodamasio.com/.

Hanna Damasio M.D. is University Professor, Dana Dornsife Professor of Neuroscience and Director of the Dana and David Dornsife Cognitive Neuroscience Imaging Center at the University of Southern California. Using computerized tomography and magnetic resonance scanning, she has developed methods of investigating human brain structure and studied functions such as language, memory and emotion, using both the lesion method and functional neuroimaging. Besides numerous scientific articles (Web of Knowledge H Index is 85; over 40,620 citations), she is the author of the award-winning Lesion Analysis in Neuropsychology (Oxford University Press, 1990), and of Human Brain Anatomy in Computerized Images (Oxford University Press, 1995), the first brain atlas based on computerized imaging data.

Hanna is a Fellow of the American Academy of Arts and Sciences and of the American Neurological Association and she holds honorary doctorates from the École Polytechnique Fédérale de Lausanne, the Universities of Aachen and Lisbon, and the Open University of Catalonia. In January 2011, she was named USC University Professor.

Kit Fine is a University Professor and a Julius Silver Professor of Philosophy and Mathematics at New York University, specializing in Metaphysics, Logic, and Philosophy of Language. He is a fellow of the American Academy of Arts and Sciences, and a corresponding fellow of the British Academy. He has received awards from the Guggenheim Foundation, the American Council of Learned Societies and the Humboldt Foundation and is a former editor of the Journal of Symbolic Logic. In addition to his primary areas of research, he has written papers in the history of philosophy, linguistics, computer science, and economic theory and has always had a strong and active interest in music composition and performance.

Susan Feder is a Program Officer in the Arts and Culture program at The Andrew W. Mellon Foundation, where since 2007 she has overseen grantmaking in the performing arts. Among the initiatives she has launched are the Foundation’s Comprehensive Organizational Health Initiative, National Playwright Residency Program, National Theater Project, and Pathways for Musicians from Underrepresented Communities. Earlier in her career, as Vice President of the music publishing firm G. Schirmer, Inc., she developed the careers of many leading composers in the United States, Europe, and the former Soviet Union. She has also served as editorial coordinator of The New Grove Dictionary of American Music (Oxford University Press, 1878-present) and program editor at the San Francisco Symphony. Currently, Feder sits on the boards of Grantmakers in the Arts, Amphion Foundation, Kurt Weill Foundation, and Charles Ives Society, and is a member of the Music Department Advisory Council at Princeton University. She is the dedicatee of John Corigliano’s Pulitzer-Prize winning Symphony No. 2, Augusta Read Thomas’s Helios Choros, and Joan Tower’s Dumbarton Quintet.

Maris Gothoni is currently Head of Artistic Planning of the Stavanger Symphony Orchestra in Norway. He is also Artistic Advisor Designate of the Tongyeong International Music Festival in South Korea, as well as Artistic Advisor Designate of the Weiwuying International Music Festival in Kaohsiung, Taiwan.

Ara Guzelimian is Artistic and Executive Director of the Ojai Festival in California, having most recently served as Provost and Dean of the Juilliard School in New York City from 2007 to 2020. He continues at Juilliard in the role of Special Advisor, Office of the President. Prior to the Juilliard appointment, he was Senior Director and Artistic Advisor of Carnegie Hall from 1998 to 2006. He was also host and producer of the acclaimed "Making Music” composer series at Carnegie Hall from 1999 to 2008. Mr. Guzelimian currently serves as Artistic Consultant for the Marlboro Music Festival and School in Vermont. He is a member of the Steering Committee of the Aga Khan Music Awards, the Artistic Committee of the Borletti-Buitoni Trust in London, and a board member of the Amphion and Pacific Harmony Foundations. He is also a member of the Music Visiting Committee of the Morgan Library and Museum in New York City.

Ara is editor of Parallels and Paradoxes: Explorations in Music and Society (Pantheon Books, 2002), a collection of dialogues between Daniel Barenboim and Edward Said. In September 2003, Mr. Guzelimian was awarded the title of Chevalier des Arts et des Lettres by the French government for his contributions to French music and culture.

Assal Habibi is an Assistant Research Professor of Psychology at the Brain and Creativity Institute at University of Southern California. Her research takes a broad perspective on understanding music’s influence on health and development, focusing on how biological dispositions and music learning experiences shape the brain and development of cognitive, emotional and social abilities across the lifespan. She is an expert on the use of electrophysiologic and neuroimaging methods to investigate human brain function and has used longitudinal and cross-sectional designs to investigate how music training impacts the development of children from under-resourced communities, and how music generally is processed by the body and the brain. Her research program has been supported by federal agencies and private foundations including the NIH, NEA and the GRoW @ Annenberg Foundation, and her findings have been published in peer-reviewed journals including Cerebral Cortex, Music Perception, Neuroimage, and PLoS ONE. Currently, she is the lead investigator of a multi-year longitudinal study, in collaboration with the Los Angeles Philharmonic and their Youth Orchestra program (YOLA), investigating the effects of early childhood music training on the development of brain function and structure as well as cognitive, emotional, and social abilities. Dr. Habibi is a classically trained pianist and has many years of musical teaching experience with children, a longstanding personal passion.

Craig Hall worked at the New World Symphony (NWS) from 2007–2020, serving as Vice President for Communications and Vice President of Audience Engagement, Research and Design. During this time, NWS significantly developed its media and research programs, in addition to its audience, creative services and ticketing capacities. Throughout his career, Mr. Hall has sought to attract new audiences and increase engagement while developing an understanding and greater appreciation for classical music through a combination of program development, branding, creative and empathetic messaging, and patron services. Mr. Hall has also launched and developed extensive research programs to track NWS’s new audience initiatives, the results of which have been shared in reports, publications and at conferences internationally.

Craig has been a featured presenter at conferences including the League of American Orchestras, Orchestras Canada and the Asociación Española de Orquestas Sinfónicas, and a guest lecturer for classes at Indiana University’s School of Public and Environmental Affairs. In his own community, he has served as guest speaker at the Miami Press Club, grant panelist for Miami-Dade County and the City of Miami Beach, and as a Task Force Member of Miami-Dade County’s Miami Emerging Arts Leaders program.

Ellen T. Harris,(eharris@mit.edu) B.A. ‘67 Brown University; M.A. ‘70, Ph.D. ‘76 University of Chicago, is Class of 1949 Professor Emeritus at MIT and recurrent Visiting Professor at The Juilliard School (2016, 2019, 2020). Her book, George Frideric Handel: A Life with Friends (Norton, 2014) received the Nicolas Slonimsky Award for Outstanding Musical Biography (an ASCAP/Deems Taylor Award). Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Harvard, 2001) received the 2002 Otto Kinkeldey Award from the American Musicological Society and the 2002-03 Louis Gottschalk Prize from the Society for Eighteenth-Century Studies. December 2017 saw the release of the thirtieth-anniversary revised edition of her book Henry Purcell: Dido and Aeneas. Articles and reviews by Professor Harris concerning Baroque opera and vocal performance practice have appeared in numerous publications including Journal of the American Musicological Society, Händel Jahrbuch, Notes, and The New York Times. Her article "Handel the Investor” (Music & Letters, 2004) won the 2004 Westrup Prize. Articles on censorship in the arts and arts education have appeared in The Chronicle of Higher Education and The Aspen Institute Quarterly.

Howard Herring joined the New World Symphony (NWS) as President and Chief Executive Officer in 2001. His first charge was to guide the process of imagining and articulating a program for the long-term future of the institution. That program formed the basis for NWS’s new home, the New World Center (NWC). Designed by Frank Gehry, the NWC opened to national and international acclaim in 2011 and is a twenty-first-century laboratory for generating new ideas about the way music is taught, presented and experienced. A specific initiative of interest is WALLCAST® concerts – capture and delivery of orchestral concerts on the primary façade of the NWC offered at the highest levels of sight and sound and for free. Now with over 1,150 alumni, NWS continues to expand its relevance in South Florida and beyond, winning new audiences and enhancing music education.

Mr. Herring is a native of Oklahoma. A pianist by training, he holds a bachelor of music degree from Southern Methodist University and a master’s degree and honorary doctorate from Manhattan School of Music. He was the pianist of the Claremont Trio, a winner of the Artists International Competition, and an active musician and teacher in New York City. In 1986 he became Executive Director of the Caramoor Music Festival. During his fifteen-year tenure, he guided the creation of the Rising Stars Program for young instrumentalists and Bel Canto at Caramoor for young singers. During that period, Caramoor also celebrated its fiftieth Anniversary and established an endowment.

Jenny Judge is a philosopher and musician whose work explores the resonances between music and the philosophy of mind. She holds a PhD in musicology from the University of Cambridge and is currently completing a second doctoral dissertation in philosophy at NYU. An active musician and songwriter, Judge performs and records with jazz guitarist Ted Morcaldi as part of the analogue electronic / folk duo, ”Pet Beast”. Judge also writes philosophical essays for a general audience, exploring topics at the intersection of art, ethics and technology. Her work has appeared in The Guardian, Aeon, Medium’s subscription site OneZero, and the Philosopher’s Magazine. Selections can be found at www.jennyjudge.net.

Judge also works as a music writer. She regularly collaborates with flutist Claire Chase, most recently authoring an essay for the liner notes of Chase’s 2020 album ‘Density 2036: part v’.

Hailed for his "trademark brilliance, penetrating sound and rich character” (The New York Times), clarinetist Anthony McGill enjoys a dynamic international solo and chamber music career and is Principal Clarinet of the New York Philharmonic—the first African-American principal player in the organization’s history. In 2020, he was awarded the Avery Fisher Prize, one of classical music’s most significant awards given in recognition of soloists who represent the highest level of musical excellence.

McGill appears regularly as a soloist with top orchestras including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony Orchestra, San Diego Symphony, and Kansas City Symphony. He was honored to perform at the inauguration of President Barack Obama, premiering a piece by John Williams and performing alongside Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero. In demand as a teacher, he serves on the faculty of The Juilliard School, Curtis Institute of Music, and Bard College Conservatory of Music. He is Artistic Director for the Music Advancement Program at The Juilliard School. In May 2020, McGill launched #TakeTwoKnees, a musical protest video campaign against the death of George Floyd and historic racial injustice which went viral. Further information may be found at anthonymcgill.com.

Francie Ostrower is Professor at The University of Texas at Austin in the LBJ School of Public Affairs and College of Fine Arts, Director of the Portfolio Program in Arts and Cultural Management and Entrepreneurship, and a Senior Fellow in the RGK Center for Philanthropy and Community Service. She is Principal Investigator of Building Audiences for Sustainability: Research and Evaluation, a six-year study of audience-building activities by performing arts organizations commissioned and funded by The Wallace Foundation. Professor Ostrower has been a visiting professor at IAE de Paris/Sorbonne graduate Business School and is an Urban Institute-affiliated scholar. She has authored numerous publications on philanthropy, nonprofit governance, and arts participation that have received awards from the Association for Research on Nonprofit and Voluntary Action (ARNOVA) and Independent Sector. Her many past and current professional activities include serving as a board member and president of ARNOVA, and an editorial board member of the Nonprofit and Voluntary Sector Quarterly.

Christopher Peacocke is Johnsonian Professor of Philosophy at Columbia University in the City of New York, and Honorary Fellow of the Institute of Philosophy in the School of Advanced Study in the University of London. He is a Fellow of the British Academy and of the American Academy of Arts and Sciences. He writes on the philosophy of mind, metaphysics, and epistemology. He has been concerned in the past decade to apply the apparatus of contemporary philosophy of mind to explain phenomena in the perception of music. His articles on this topic are in the British Journal of Aesthetics and in the Oxford Handbook of Western Music and Philosophy, ed. by J. Levinson, T. McAuley, N. Nielsen, and A. Phillips-Hutton (Oxford University Press, 2020).

Catherine Provenzano is an Assistant Professor of Musicology and Music Industry at the UCLA Herb Alpert School of Music. Her scholarship focuses on voice, technology, mediation and labor in contexts of popular music production, with a regional specialty in North America. Catherine has conducted ethnographic research with software developers, audio engineers, music producers and artists in Los Angeles, Nashville, Silicon Valley and Germany. In addition to an article in the Journal of Popular Music Studies, Catherine has presented research at meetings of the Society for Ethnomusicology, EMP PopCon, Indexical, The New School, Berklee College of Music and McGill University.

In 2019, Catherine earned her Ph.D. in Ethnomusicology from New York University. At NYU and The New School, Catherine has taught courses in popular music, critical listening, analysis of recorded sound and music and media. Her dissertation, "Emotional Signals: Digital Tuning Software and the Meanings of Pop Music Voices,” is a critical ethnographic account of digital pitch correction softwares (Auto-Tune and Melodyne), and their development and use in US Top 40 and hip-hop. She is also a singer, songwriter and performer under the name Kenniston, and collaborates with other musical groups.

Alex Ross has been the music critic of The New Yorker since 1996. His first book, The Rest Is Noise: Listening to the Twentieth Century(Harper, 2009), a cultural history of music since 1900, won a National Book Critics Circle award and the Guardian First Book Award, and was a finalist for the Pulitzer Prize. His second book, the essay collection Listen to This(Fourth Estate, 2010), won an ASCAP Deems Taylor Award. In 2020 he published Wagnerism: Art and Politics in the Shadow of Music (Farrar, Straus and Giroux, 2020), an account of the composer’s vast cultural impact. He has received a MacArthur Fellowship, a Guggenheim Fellowship, and an Arts and Letters Award from the American Academy of Arts and Letters.

Tom Service broadcasts for BBC Radio 3 and BBC Television: programmes include The Listening Service and Music Matters on Radio 3, the BBC Proms and documentaries on television. His books about music are published by Faber, he wrote about music for The Scotsman and The Guardian for two decades, and he is a columnist for The BBC Music Magazine. He was the Gresham College Professor of Music in 2018-19, with his series, "A History of Listening”. His Ph.D, at the University of Southampton, was on the music of John Zorn.

Matthew VanBesien has served as the President of the University Musical Society (UMS) at the University of Michigan since 2017, becoming only the seventh president in UMS’s 142-year history. A 2014 recipient of the National Medal of Arts, UMS is a nonprofit organization affiliated with U-M, presenting over 80 music, theater, and dance performances, and over 300 free educational activities, each season.

Before his role in Michigan, he served as Executive Director and then President of the New York Philharmonic. Previously, Mr. VanBesien served as managing director of the Melbourne Symphony Orchestra, following positions at the Houston Symphony as Executive Director, Chief Executive Officer, and General Manager.

During his tenure at the New York Philharmonic, Matthew developed and executed highly innovative programs along with Music Director Alan Gilbert, such as the NY PHIL BIENNIAL in 2014 and 2016, the Art of the Score film and music series, and exciting productions such as Jeanne d’Arc au bûcher with Marion Cotillard, and Sweeney Todd with Emma Thompson. He led the creation of the New York Philharmonic’s Global Academy initiative, which offered educational partnerships with cultural institutions in Shanghai, Santa Barbara, Houston, and Interlochen to train talented pre-professional musicians, often alongside performance residencies. He led a successful music director search, with Jaap van Zweden appointed to the role beginning in 2018, the formation of the Philharmonic’s International Advisory Board and President’s Council, and the unique and successful multi-year residency and educational partnership in Shanghai, China.

A native of St. Louis, Missouri, Matthew earned a Bachelor of Music degree in French horn performance from Indiana University, and holds an Honorary Doctorate of Musical Arts from Manhattan School of Music. He serves as the Secretary and Treasurer of the International Society for the Performing Arts, and is a board member of Ann Arbor SPARK.

Zachary Woolfe has been the classical music editor at The New York Times since 2015. Prior to joining The Times, he was the opera critic of the New York Observer. He studied at Princeton University.