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Classical Music Classical Contemporary Perspectives Perspectives Contemporary Classical Music Contemporary Perspectives and Challenges Classical Music This kaleidoscopic collection reflects on the multifaceted world of classical music as it advances through the twenty-first century. With insights drawn from Contemporary Perspectives and Challenges 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 Classical 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. Edited by Paul Boghossian Michael Beckerman Julius Silver Professor of Philosophy Carroll and Milton Petrie Professor and Chair; Director, Global Institute for of Music and Chair; Collegiate Advanced Study, New York University Professor, New York University This is the author-approved edition of this Open Access title. As with all Open Book publications, this entire book is available to read for free on the publisher’s website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover Image by JRvV Cover Design by Jacob More book e Edited by also available Michael Beckerman and Paul Boghossian OBP CLASSICAL MUSIC Classical Music Contemporary Perspectives and Challenges Edited by Michael Beckerman and Paul Boghossian https://www.openbookpublishers.com © 2021 Michael Beckerman and Paul Boghossian. Copyright of individual chapters is maintained by the chapters’ authors. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND 4.0). This license allows you to share, copy, distribute, and transmit the work providing you do not modify the work, you do not use the work for commercial purposes, you attribute the work to the authors, and you provide a link to the license. Attribution should not in any way suggest that the authors endorse you or your use of the work and should include the following information: Michael Beckerman and Paul Boghossian (eds), Classical Music: Contemporary Perspectives and Challenges. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/ OBP.0242 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. This information is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https:// doi.org/10.11647/OBP.0242#copyright Further details about CC BY-NC-ND licenses are available at https://creativecommons. org/licenses/by-nc-nd/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0242#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800641136 ISBN Hardback: 9781800641143 ISBN Digital (PDF): 9781800641150 ISBN Digital ebook (epub): 9781800641167 ISBN Digital ebook (mobi): 9781800641174 ISBN XML: 9781800641181 DOI: 10.11647/OBP.0242 Cover image: Photo by JRvV on Unsplash, https://unsplash.com/photos/NpBmCA065ZI Cover design by Jacob More. Table of Contents List of Illustrations vii Author Biographies xi Preface xxv Paul Boghossian Introduction xxxiii Michael Beckerman PART I 1. The Enduring Value of Classical Music in the Western 1 Tradition Ellen T. Harris and Michael Beckerman 2. The Live Concert Experience: Its Nature and Value 7 Christopher Peacocke and Kit Fine 3. Education and Classical Music 15 Michael Beckerman, Ara Guzelimian, Ellen T. Harris, and Jenny Judge 4. Music Education and Child Development 29 Assal Habibi, Hanna Damasio, and Antonio Damasio 5. A Report on New Music 39 Alex Ross 6. The Evolving Role of Music Journalism 47 Zachary Woolfe and Alex Ross 7. The Serious Business of the Arts: Good Governance in 55 Twenty-First-Century America Deborah Borda 8. Audience Building and Financial Health in the Nonprofit 63 Performing Arts: Current Literature and Unanswered Questions (Executive Summary) Francie Ostrower and Thad Calabrese vi Classical Music: Contemporary Perspectives and Challenges 9. Are Labor and Management (Finally) Working Together 75 to Save the Day? The COVID-19 Crisis in Orchestras Matthew VanBesien 10. Diversity, Equity, Inclusion, and Racial Injustice in the 87 Classical Music Professions: A Call to Action Susan Feder and Anthony McGill 11. The Interface between Classical Music and Technology 103 Laurent Bayle and Catherine Provenzano PART II 12. Expanding Audiences in Miami: The New World 121 Symphony’s New Audiences Initiative Howard Herring and Craig Hall 13. Attracting New Audiences at the BBC 143 Tom Service 14. Contemporary Classical Music: A Komodo Dragon? New 157 Opportunities Exemplified by a Concert Series in South Korea Unsuk Chin and Maris Gothoni 15. The Philharmonie de Paris, the Démos Project, and New 177 Directions in Classical Music Laurent Bayle 16. What Classical Music Can Learn from the Plastic Arts 183 Olivier Berggruen Index 191 List of Illustrations Chapter 4 Fig. 1 Aerial view of the brain from the top depicting white matter 34 pathways connecting the left and the right hemisphere. Image from data collected as part of ongoing study at the Brain and Creativity Institute (2012–2020); post-processed by Dr. Hanna Damasio (2020), CC-BY-NC-ND. Chapter 10 Fig. 1 African American and Latinx representation in higher 95 education music programs. Data drawn from National Association of Schools of Music (NASM) 2015-16 Heads Report. © NYU Global Institute for Advanced Study. CC-BY-NC-ND. Fig. 2 BIPOC musicians in community music schools. Data drawn 95 from US Census Bureau, 2011 American Community Survey; National Guild for Community Arts Education Racial/Ethnic Percentages of Students Within Membership Organizations. © NYU Global Institute for Advanced Study. CC-BY-NC-ND. Chapter 12 Fig. 1 New World Symphony’s performance and research cycle 125 for audience acquisition and engagement. Graphic by Howard Herring and Craig Hall (2012), © 2012, New World Symphony, Inc. All rights reserved. viii Classical Music: Contemporary Perspectives and Challenges Fig. 2 Jamie Bernstein narrates during an Encounters concert 127 performed by the New World Symphony orchestra at the New World Center. This video as well as the graphics and animations featured as performance elements within the video were created in the Knight New Media Center at the New World Center campus in Miami Beach, FL. Knight Foundation and New World Symphony: Reimagining classical music in the digital age. © 2020, New World Symphony, Inc. All rights reserved. Duration: 1:35. Fig. 3 NWS Fellow, Grace An, gives an introduction during a 128 Mini-Concert (2012). New World Center, Miami Beach, FL. Photo courtesy of New World Symphony. © 2012, New World Symphony, Inc. All rights reserved. Fig. 4 NWS Conducting Fellow, Joshua Gersen, leads Pulse—Late 129 Night at the New World Symphony. Photo by Rui Dias-Aidos (2013), New World Center, Miami Beach, FL. © 2013, New World Symphony, Inc. All rights reserved. Fig. 5 The chart indicates the variety of activities in which 130 audiences engage throughout Pulse—Late Night at the New World Symphony. Research and results compiled by WolfBrown in partnership with New World Symphony. © WolfBrown dashboard, www.intrinsicimpact.org. All rights reserved. Fig. 6 Luke Kritzeck, Director of Lighting at NWS, describes the 131 technical production and audience experience of Pulse—Late Night at the New World Symphony. The video, as well as the video projections and lighting treatments featured within this video, were created in the Knight New Media Center. Knight Foundation and New World Symphony: Reimagining classical music in the digital age. © 2020, New World Symphony, Inc. All rights reserved. Duration: 1:49. Fig. 7 WALLCAST® concert outside the New World Center. 131 WALLCAST® concerts are produced in the Knight New Media Center at the New World Center campus. Photo by Rui Dias-Aidos (2013), New World Center and SoundScape Park, Miami Beach, FL. © 2013, New World Symphony, Inc. All rights reserved. List of Figures ix Fig. 8 Clyde Scott, Director of Video Production at NWS, gives an 133 overview of aspects of a WALLCAST® concert. This video as well as the WALLCAST® production featured in this video were produced in the Knight New Media Center. Knight Foundation and New World Symphony: Reimagining classical music in the digital age. © 2020, New World Symphony, Inc. All rights reserved. Duration: 2:49. Fig. 9 Percent of first-time attendees by concert format at New 133 World Symphony. Graphic by Craig Hall (2015). © 2015, New World Symphony, Inc. All rights reserved. Fig. 10 First-time attendees to alternate performance formats at NWS 134 return at a higher rate than first-time attendees to traditional concerts at NWS. Graphic by Craig Hall (2018). © 2018, New World Symphony, Inc. All rights reserved. Fig. 11 Blake-Anthony Johnson, NWS Cello Fellow, introduces 136 the symphony’s performance of Debussy’s Prelude to the Afternoon of a Faun drawing on his personal experience with the music to contextualize the piece for the audience.
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