Curating Contemporary Music Festivals

A New Perspective on Music's Mediation

Contemporary music, like other arts, is dealing with the rise of »curators« laying claim to everything from festivals to playlists – but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

Kapitel-Übersicht

  1. Frontmatter

    Seiten 1 - 4
  2. Contents

    Seiten 5 - 8
  3. Image and Figure Rights

    Seiten 9 - 10
  4. 1. Introduction

    1.1 Establishing the Field

    Seiten 11 - 15
  5. 1.2 The State of the Art

    Seiten 15 - 23
  6. 1.3 Scope and Overview

    Seiten 23 - 28
  7. 2. Curating

    2.1 Introduction

    Seiten 29 - 40
  8. 2.2 The Anatomy of Festivals and Biennales

    Seiten 40 - 60
  9. 2.3 Curating Biennales

    Seiten 61 - 80
  10. 2.4 Curatorial Discourse

    Seiten 80 - 94
  11. 2.5 Conclusion

    Seiten 94 - 96
  12. 3. Performative Curating and Experimental Performance

    3.1 Introduction

    Seiten 97 - 98
  13. 3.2 Reading Shannon Jackson

    Seiten 98 - 111
  14. 3.3 Curating Dance / Dance Curating

    Seiten 111 - 124
  15. 3.4 Curating Theatre / Theatre Curating

    Seiten 124 - 136
  16. 3.5 Conclusion

    Seiten 136 - 138
  17. 4. Munich Biennale for New Music Theater

    4.1 Introduction

    Seiten 139 - 141
  18. 4.2 Hans Werner Henze

    Seiten 141 - 145
  19. 4.3 Music Theatre?

    Seiten 145 - 148
  20. 4.4 Peter Ruzicka

    Seiten 148 - 162
  21. 4.5 Daniel Ott and Manos Tsangaris (DOMTS)

    Seiten 162 - 169
  22. 4.6 The 2016 and 2018 Biennale Editions

    Seiten 169 - 180
  23. 4.7 Compositional and Curatorial Practices

    Seiten 180 - 203
  24. 4.8 The Munich Biennale in Numbers.

    Seiten 203 - 215
  25. 4.9 Conclusion

    Seiten 216 - 218
  26. 5. Maerzmusik: Festival für Zeitfragen

    5.1 Introduction

    Seiten 219 - 222
  27. 5.2 A Brief Prehistory to the Maerzmusik Festival

    Seiten 222 - 228
  28. 5.3 Maerzmusik 2002–2014

    Seiten 228 - 230
  29. 5.4 Berno Odo Polzer

    Seiten 230 - 247
  30. 5.5 2017 Opening Concert: Julius Eastman

    Seiten 247 - 257
  31. 5.6 Storytelling for Earthly Survival

    Seiten 258 - 268
  32. 5.7 Curating and the Maerzmusik Festival

    Seiten 268 - 273
  33. 5.8 Decolonizing Time

    Seiten 273 - 277
  34. 5.9 Conclusion/Coda/Konzertemacher

    Seiten 277 - 280
  35. 6. Conclusion/Curating Music

    Seiten 281 - 288
  36. Bibliography

    Seiten 289 - 310
  37. Appendix: List of Productions at the Munich Biennale for New Music Theatre from 1988–2018

    Seiten 311 - 326
Mehr
45,00 € *

17. August 2020, 326 Seiten
ISBN: 978-3-8376-5243-7

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* = Preise inkl. Mehrwertsteuer. Deutschsprachige Bücher = gebundener Ladenpreis, fremdsprachige Bücher = unverbindliche Preisempfehlung. Versandkostenfreie Lieferung innerhalb Deutschlands, für Ausnahmen siehe Details.

Weiterempfehlen

Brandon Farnsworth

Brandon Farnsworth, Zürcher Hochschule der Künste, Schweiz

1. Why did you chose this topic?

Growing up studying classical music in conservatories, where so many aspects about music's presentation were self-evident, I wondered what would happen if music's context was acknowledged as itself co-constitutive of the experience. Because contemporary music festivals have recently started to experiment with exactly this, I wanted to write a book about how the concept of curating, taken from the visual arts, could be a useful foundation for thinking about music's mediation.

2. What new perspectives does your book offer?

Artistic directors have recently taken to renaming themselves `curators' in music, although they are often unfamiliar with the historical and critical discourses around curating that this implies. I therefore set out to introduce the field to such ideas from a uniquely musical perspective, one that is aware of how curatorial practice intersects with the specificities of contemporary classical music, like issues of Werktreue and compositional authorship.

3. What makes your topic relevant for current research debates?

There is a lot of thinking in contemporary music right now about its episteme and underlying assumptions, especially as individual commissioned scores are becoming increasingly marginal forms of artistic expression. Within this context, this book suggests that much greater study should be focused on the frameworks and structures in which music takes place, which have for far too long remained unquestioned and seemingly self-evident.

4. Choose one person you would like to discuss your book with!

Berno Odo Polzer! I'm curious to know what he thinks about my interpretation of his festival, which was one of my case studies.

5. Your book summary in one sentence:

This book develops a theory of curating in music in order to analyze two major New Music festivals in Germany.

Autor_in(nen)
Brandon Farnsworth
Buchtitel
Curating Contemporary Music Festivals A New Perspective on Music's Mediation
Verlag
transcript Verlag
Seitenanzahl
326
Ausstattung
kart., Dispersionsbindung, 8 SW-Abbildungen, 6 Farbabbildungen
ISBN
978-3-8376-5243-7
DOI
10.14361/9783839452431
Warengruppe
1786
BIC-Code
KJM AVA
BISAC-Code
MUS004000 MUS020000 BUS041000
THEMA-Code
KJM AVA
Erscheinungsdatum
17. August 2020
Auflage
1
Themen
Kulturmanagement, Musik
Adressaten
Curatorial Studies, Concert Studies, Musicology, Performance Studies, Art, Aesthetics
Schlagworte
Contemporary Classical Music, New Music, Neue Musik, Berliner Festspiele, Münchner Biennale Für Neues Musiktheater, Munich Biennale For New Music Theatre, Cultural Management, Music, Music Management, Musicology

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