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Conference on The Classical Music Industry, including Book Launch

Event information

START DATE 16 October 2018
START TIME 10:00am

Middlesex University, The Burroughs, Hendon, London NW4 4BT

END DATE 16 October 2018
END TIME 07:00pm

One-day Conference on the Classical Music Industry

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.

Book your place


We are pleased to confirm that the event will include a keynote presentation given by Gillian Moore CBE (Director of Music, Southbank Centre). A full schedule for the day will be published here in the near future. Papers currently confirmed include:

Dr Rachel Thwaites (University of Lincoln) and Dr Neil T. Smith (University of Nottingham), ‘Emerging Composers and the Composition Opportunity’

Chris Marshall (Royal Birmingham Conservatoire), ‘The Royal Albert Hall as Maori Meeting Hut: Commissioning Music for the 1982 Proms’

Harriet Wybor (PRS for Music) et al., ‘The Twenty-First Composer: An Art or a Business?’ [roundtable]

Dr Artemis Ignatidou (Ernst Bloch Centre for German Thought, University of London), ‘Participatory Music Outreach Programmes among Migrant Women in Athens’

Esther Bishop (Zeppelin Universit├Ąt 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’

Dr Brian Inglis (Middlesex University), ‘Classical Music, Copyright, and Collecting Societies’

Peter Munkacsi (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’

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’

Dr Tony Stoller (Bournemouth University), ‘The Medium Makes the Music: Classical Music and Radio’

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’

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’

Dr Ingrid Bols (University of Glasgow), ‘Programming Choices in French and British Symphony Orchestras: Canonic Practices, National Culture and Corporate Innovation’

Masa Spaan (music curator), ‘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’

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’

The conference’s themes are:

  • “mapping” the industry to chronicle or critique how its networks and principles keep the cultural or economic practice of classical music mobile and alive;
  • the consequence of such issues as ethics, economic status, prestige, parenting, gender, class, or race for engagement with, or employability within, classical music;
  • (re)defining classical music, its place and purpose, its subgenres or sectors, how it is perceived, understood, or appropriated;
  • the relationship between musicology and industry, e.g. “public” musicology as it is theorised and/or practised;
  • research on classical music’s listening cultures, such as concert-going, audiences, or listening itself;
  • management or other forms of representation, of or among classical artists, ensembles, or organisations;
  • historical or international perspectives, e.g. non-Western classical music industries, funding models in different territories;
  • broadcasting classical music and related domains such as radio, television, journalism, or music criticism;
  • live and special events, programming/curating classical music, ticketing, venues/locations, auditions, music competitions;
  • educational concerns, e.g. the consequences of recent restructuring (in the UK), outreach, youth music, or pathways to professionalism;
  • the significance of contemporary innovations, e.g. in technology, product/event development, publishing, marketing, or social media;
  • the structural challenges of pursuing creative pathways.

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