Tuesday 12 November Wigmore Hall London
Wednesday 13 November Middlesex University
Tuesday November 12th (Wigmore Hall, 36 Wigmore St, Marylebone, London W1U 2BP, London) and Wednesday November 13th (Middlesex University, The Burroughs, London NW4 4BT)
Start and end times are to be confirmed.
Keynote Address by John Gilhooly OBE OSI (Artistic and Executive Director, Wigmore Hall)
Second Keynote Address tba
Following the inaugural Classical Music Industry Conference, attended by 88 delegates, CMIC2019 will again bring together academics, executives and practitioners to discuss and scrutinise the classical music industry in the contexts of music-making, business practices, mediation, politics and education. We hope the conference will stimulate further knowledge-sharing between disciplines and between academia and industry. To that end, we invite proposals for 20-minute papers and/or shorter panel contributions that address any facet of the classical music industry, but we encourage presenters to consider how one or more of the following indicative areas could inform their approach:
- “mapping” the industry to chronicle or critique how its networks and principles keep classical music’s cultural or economic practices mobile and alive;
- management or other forms of representation, of or among classical artists, ensembles or organisations;
- historical or international perspectives, e.g. especially non-western classical music industries and funding models in different geographical areas;
- 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;
- the significance of contemporary innovations, e.g. in technology, product/event development, publishing, marketing or social media;
- recordings and their formats, consumption and place within industry;
- structural challenges, e.g. to pursuing creative pathways (from the musician’s/composer’s/other perspective), or the relationship between public funding and private enterprise;
- musicology and industry, e.g. “public” musicology as theorised or practised; “applied” musicologies, e.g. music and health/well-being, cultural democracy/preservation, social justice;
- (classical) music education, e.g. the consequences of 2010s restructuring (in the UK), outreach, youth music, or pathways to professionalism;
- how economic status, prestige, parenting, gender, class or race affect 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;
- classical music’s listening cultures, e.g. concert-going, audiences, or listening itself;
- classical music and/vs. other musical genres in one or more of these contexts;
- further ethical considerations, e.g. the #metoo movement, the gig economy, risk-taking, discrimination, de-colonial perspectives.
Abstracts (max. 250 words) should be submitted to ClassicalMusicIndustry@gmail.com by 30th August 2019 and should include the name of author, short biography and affiliation (if any) as they are to be published in the conference programme. The Programme Committee will review and select presentations according to their relevance, originality and clarity.
Following the conference, presenters may be invited to submit papers for publication in an edited book.
Registration for the conference will open in the near future. Initial expressions of interest and any queries may be sent to firstname.lastname@example.org or email@example.com.
Chris Dromey (Middlesex University)
Julia Haferkorn (Middlesex University)
Paul Keene (Barbican Centre)
Christina Scharff (King’s College London)