Classical Concert Studies

<p>Classical Concert Studies: A Companion to Contemporary Research and Performance is a landmark publication that maps out a new interdisciplinary field of Concert Studies, offering fresh ways of understanding the classical music concert in the twenty-first century. It brings together essays, research articles, and case studies from scholars and music professionals including musicians, music managers, and concert designers. Gathering both historical and contemporary cases, the contributors draw on approaches from sociology, ethnology, musicology, cultural studies, and other disciplines to create a rich portrait of the classical concert’s past, present, and future.</p><p>Based on two earlier volumes published in German under the title <i>Das Konzert </i>(The Concert), and with a selection of new chapters written for the English edition, this companion enables students, researchers, and practitioners in the classical and contemporary music fields to understand this emerging field of research, go beyond traditional disciplinary boundaries and methodologies, and spark a renaissance for the classical concert.</p> <p>List of figures </p><p>List of tables</p><p>Acknowledgements</p><p>List of contributors</p><p><strong>Concert Studies</strong></p><p>I. The Concert as an Event</p><p>1. A Concert Theory</p><p>2. Music as Text, Music as Performance</p><p>3. 4’33" </p><p>The Concert as a Performative Moment</p><p>4. The Discovery of Listening in the Concert</p><p>5. Between Formalization and Exaggeration: An Ethnomusicological Perspective</p><p>6. Concert Formats: Liturgy<b>—</b>Ritual<strong>—</strong>Power?</p><p>II. Programs, Formats, and Media</p><p>7. From Program Leaflets to Listening Apps: A Brief History of Guided Listening</p><p>8. Space, Light, Proximity: Aspects of Historical Performance Practice</p><p>9. Preludes, Fantasias, and Collages: Improvisation, a Forgotten Art in the Classical Concert</p><p>10. Concert Design: Form Follows Function</p><p>11. Musical Curator and Concert Director</p><p>12. The Yellow Lounge Reinvents the Concert Forum</p><p>13. Strategies for the Production of Presence</p><p><strong>III. Space</strong><strong>—</strong><strong>Sound—Instruments</strong></p><p>14. Noise and Sound: The Historicity and Sociability of the Senses</p><p>15. From Sound to Noise: The History of Hearing in the Nineteenth and Early Twentieth Centuries</p><p>16. The Soundscape of Vienna: Pictorial Essay</p><p>17. The Cultural Dimensions of Atmospheres: Sociological Observations of the resonanzraum<i> </i>in Hamburg</p><p>18. A Sociological Reflection on the Concert Venue</p><p>19. Cinema for the Ears: Technical Developments in Acoustics and Loudspeaker Systems</p><p>20. Digital Encore: Virtualization, Live Coding, and New Interfaces</p><p>IV. The Audience and the Musicians</p><p>21. Between Audience Decline and Audience Development:</p><p>Perspectives on the Professional Musician, Music Education, and Cultural Policy</p><p>22. Musical, Social, and Moral Dilemmas: Investigating Audience Motivations to Attend Concerts</p><p>23. Studying Music . . . And Then What? </p><p>24. "Playing Concerts Is Not Enough": On the Identity of the Deutsche Kammerphilharmonie Bremen</p><p>25. Women in Music Culture: A History of (Non-)Participation?</p><p>26. The Konzerthaus Berlin: A Concert Hall in Transition</p><p>27. Audience Development and Engagement </p><p>V. Economy and Policy</p><p>28. The Influence of Economic Variables in the Concert Industry</p><p>29. Roll Over Beethoven . . .: Notes on Concerts under Conditions of the Culture Industry </p><p>30. The Dematerialization of Music: How Streaming Technology Impacts Music Production and Consumption</p><p>31. The "New Classic"</p><p>32. Actors in the Classical Music Business: A Media Discourse Analysis </p><p>VI. Concert Research</p><p>33. A Manifesto of Concert Culture</p><p>34. Concerto21: A Didactic Introduction for Concert Development</p><p>35. The Researching Orchestra: Innovative Collaborations between Symphonic Orchestras and Knowledge Institutions</p><p>36. The Classical Concert as an Object of Empirical Aesthetics</p><p>Index<b> </b></p>