Middlesex University, The Burroughs, Hendon, London NW4 4BT
On Tuesday 16th October 2018, Middlesex University will host a one-day conference, bringing together academics, executives, and practitioners to discuss and scrutinise the classical music industry. The central practices, theories, and debates that empower and regulate the industry will be explored in the contexts of classical music-making, business, and associated spheres such as politics, education, media, and copyright. The event also celebrates the launch of Routledge’s edited collection of essays on The Classical Music Industry, Middlesex University’s new MA Classical Music Business, and prepares the ground for further publications.
In recent years, discussion of classical music practices has flourished in areas as diverse as law, education, business studies, sociology, philosophy, ICT, and cultural studies. From Dawn Bennett’s landmark study of the classical music profession, through assorted publications on the genre’s economic and social situation, to organisations reflecting on their own identity and impact, the classical music industry is being studied from strikingly new and different angles. The conference acknowledges that the classical music industry animates deep feelings and it addresses debates that have long encircled the sector but today have a fresh face, as the industry adjusts to the new realities of funding, policy-making, technology, and retail.
For further information, please contact Dr Chris Dromey. Register for the conference using the button below.
Parallel Session 1a
Contemporary Challenges, chaired by Julia Haferkorn (Middlesex University)
Dr Annabelle Lee (Royal Holloway), ‘Social Media and the Classical Music Industry: Catalysts for Change or “Classical Cult?”’
Dr Antony Feeny (independent researcher), ‘Researching Classical Music Business Data: A Symphony of Silence?’
Dr Brian Kavanagh (King’s College, London), ‘Reimagining Classical Music Performing Organisations for the Digital Age’
Parallel Session 1b
Diversity and Education, chaired by Dr Chris Dromey (Middlesex University)
Dr Artemis Ignatidou (Ernst Bloch Centre for German Thought, University of London), ‘Participatory Music Outreach Programmes among Migrant Women in Athens’
Esther Bishop (Zeppelin Universität Friedrichshafen), 'You get what you want, but not what you need? A Curriculum Analysis of Music Performance Programmes in Germany.'
Dr Christina Scharff (King’s College, London), 'The Classical Music Industry: A Sociological Perspective"
Parallel Session 2a
The Composer Today, chaired by Susanna Eastburn MBE (Chief Executive, Sound and Music)
Dr Neil T. Smith (University of Nottingham) and Dr Rachel Thwaites (University of Lincoln), ‘Emerging Composers and the Composition Opportunity’
Composers Cheryl Frances-Hoad, Samantha Fernando and Steven Daverson join Harriet Wybor (PRS for Music): ‘Making a Living as a Composer: Current Perspectives'
Parallel Session 2b
Programming, Curation and Engagement, chaired by Prof. Peter Fribbins (Middlesex University and London Chamber Music Society)
Ingrid Bols (University of Glasgow), ‘Programming Choices in French and British Symphony Orchestras: Canonic Practices, National Culture and Corporate Innovation’
Masa Spaan (music curator and independent researcher), ‘Curating Classical Music: Towards a Synergetic Concert Dramaturgy’
Prof. Stephanie Pitts, Dr Marta Herrero and Dr Sarah M. Price (University of Sheffield), ‘The Gift of Music: Re-envisioning Audience Engagement through Membership Schemes’
Parallel Session 3a
Radio, chaired by tbc
Chris Marshall (Royal Birmingham Conservatoire), ‘The Royal Albert Hall as Maori Meeting Hut: Commissioning Music for the 1982 Proms’
Dr Chris Dromey (Middlesex University), ‘Talking about Classical Music: Radio as Public Musicology’
Dr Neil Washbourne (Leeds Beckett University), ‘Locating Classical 105.9 WQXR-FM in New York City: Commercial Radio to NPR, On-Air Supplemented by On-Line’
Parallel Session 3b
Publishing and Copyright, chaired by tbc
Dr Brian Inglis (Middlesex University), ‘Classical Music, Copyright, and Collecting Societies’
Péter Munkácsi (independent researcher), ‘Modernisation of EU Copyright Rules and Their Effects on the Classical Music Industry’
Sarah Osborn (Incorporated Society of Musicians), ‘“Growing a Forest”: The Changing Business of Classical Music Publishing’
Parallel Session 4a
Live Music, chaired by Dr Brian Kavanagh (King's College, London)
Dr Sarah M. Price (University of Sheffield), ‘“It sounded exactly like a CD…”: Articulating the Value of Live Classical Music’
Dr Jutta Toelle (Max Planck Institute for Empirical Aesthetics), ‘The Pitfalls and Promises of Audience Participation’
Julia Haferkorn (Middlesex University), 'Dancing to Another Tune: Classical Music in Nightclubs and Other Non-traditional Settings’
Parallel Session 4b
The Record Industry, chaired by Dr Brian Inglis
Sara Lambrecht (Universiteit Utrecht), ‘The Impact of New Technology on the Formats of Musical Consumption and the Shifting Role of Classical Music Recordings’
Evgeniya Kondrashina (Goldsmiths, London), ‘A Phoenix Rising from the Ashes? The State Label Melodiya in Post-Communist Russia’
Dr Marius Carboni (University of Hertfordshire), ‘Evolving Business Models in the Classical Record Industry’
Break - proceeding to the Concert Room, second floor of the nearby Grove B Building, for the Keynote and Reception
Keynote - 'Gillian Moore CBE (Director of Music, Southbank Centre), 'Who Needs Classical Music?'
Followed by Reception, including a brief discussion by Dr Chris Dromey and Julia Haferkorn of The Classical Music Industry (Routledge, 2018)