Author: ginaemerson

On December 13th, I’ll be contributing to an online symposium on innovation in orchestras hosted by Adrian Curtin at the University of Exeter, more information here: https://sites.exeter.ac.uk/orchestraltheatre/2023/10/20/symposium-the-experimental-orchestra/

I had the opportunity to give the opening talk at the Deutscher Musikrat’s Podium Gegenwart symposium on diversity and new music, the slides can now be found on the conference website: https://www.podium-gegenwart.de/symposium (in German)

If you’re interested in reading the full script for the talk, then please contact me.

Join me at 5pm today at the UdK (Bundesallee) for a talk and the launch event for Audience Experience and Contemporary Classical Music!

More info here: https://klangzeitort.de/21-4-2023-gather-present-guest-lecture-dr-gina-emerson-book-launch/

Thanks to gather and Klangzeitort for the invitation!

I am very pleased to announce that Audience Experience and Contemporary Classical Music is out now!

This book responds to recent debates on cultural participation and the relevance of newly composed music with the first large-scale audience experience study on contemporary classical music, drawing on data collected across ten different European countries. I take a multidimensional view of audience experience, looking at how sociodemographic factors and the frames of social context and concert format shape aesthetic responses and experiences in the concert hall. Contemporary classical music is critically discussed as a ‘high art subculture’ rife with contradictions and conflicts around its cultural value.

I’m heading to the Musicology department at Campus Golm today to give a guest lecture on my work with the Kammerakademie Potsdam, more here: https://www.uni-potsdam.de/de/musik/professuren-und-lehrbereiche/musikwissenschaft/veranstaltungen-und-projekte

Heading to Dessau tomorrow for this one-day symposium at the Bauhaus Museum, hosted by the IMPULS festival. Join me for an afternoon session on audiences and community building in contemporary music!

Sonic Solu­ti­ons Symposium

I’m taking part in and presenting at this Open Space event organised by the Akademie der Künste, Impuls neue Musik and inm / field notes. Looking forward to some interesting discussions!

https://www.field-notes.berlin/en/festivals/43680/conferences/98182/time-to-listen/

On 7 and 8 October, the Akademie der Künste, Impuls neue Musik and inm / field notes invite you to an Open Space on the topic of sustainability in contemporary music, where knowledge will be exchanged and translated into action. Artists, curators and activists from the fields of contemporary music and sustainability research will come together to rethink our relationships to each other and to our environment and to develop new visions for the future as well as possibilities for action with the means of contemporary music.

I’m moderating the opening panel on digitalisation, gender and reception at this year’s Heroines of Sound festival, come by the Radialsystem on July 7th at 5pm!

With Alexandra Cárdenas, Tanja Ehmann, Marta Forsberg, Irene Kurka, Rosanna Lovell, Elo Masing, Diana McCarty, Melissa Taylor
Keynote: Ania Mauruschat

Here’s the description for the session:

Since the pandemic, the digitalization of musical reception in electronic music has become undeniable. Discussion topics for the panel include the opportunities that the digital space provides for the participation and diversification of audiences, artists, and aesthetic positions, electronic music’s barriers to accessibility, and the meaning of digitalization for the realization of social visions. Discussion participants are composers and musicians as well as curators, concert producers, and blog activists.

I’m contributing to a session titled ‘Relevancy and cultural participation through the lens of audience experience and lifestyle’ at this year’s Connected Audience online conference, looking forward to the discussion!

More here: https://www.connected-audience.org/#sessions-tab

What happens when experimental musicians and composers explore Web3 and blockchains? What new possibilities and what old problems exist for music and musicians in this rapidly-changing field? How are musical practices changing in light of the ongoing pandemic? (How) are institutions responding?
Process and Protocol is a weekend-long festival organised by the Berliner Gesellschaft für Neue Musik (BGNM) at ACUD Macht Neu April 1 – 3, 2022 which aims to explore these questions.

I’ve been involved in producing this exploration into the world of Web3 – come and join us for a weekend of events at ACUD!