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6 Conclusion/Curating Music Curating Music A myriad of connections between curators and curatorial practice in various other disciplines and music have been drawn over the course of this book. It has tried to approach curating as a practice of undisciplined knowledge production, a way of escaping from established disciplinary forms and commodifiedmodes of presenta- tion, and the enactment of a movement of thought. Instead of being understood as an exclusively visual arts practice, curating has been understood as a more general way of approaching the creation of

4 Munich Biennale for New Music Theater 145 foregoing) dramatic form, which as a result are given other identifiers under the larger music theatre umbrella. This can be seen in the organization of the second biennale in 1990: while the first biennale’s productions seemed to have been made to be in Wozzeck’s image, the second biennale appears to have adopted a broader understanding of music theatre. Its program was divided into four categories of productions, the operas proper with their pride of place, the Figurentheater, concerts by the Munich Phil- harmonic

Independent Music Theatre in Berlin Breaking Out of Traditional Discourses and Building New Structures Martina Stütz When discussing contemporary independent music theatre in Berlin, a city typ- ified by artistic diversity and the development of perennially new aesthetic ap- proaches, working methods and discourses, it is surprising that we must still point out how heterogeneous the protagonists and how wide-ranging the works in this field are. Since the early 1990s, at the latest, Berlin’s autonomous scenes have been taking shape throughout the fields of

Musikalische Annäherungen an die »kreative Stadt« | Musical Approaches to the »Creative City«
Series: Urban Studies

Music City Musikalische Annäherungen an die kreative Stadt Volker Kirchberg, Alenka Barber-Kersovan, Robin Kuchar Sucht man nach Zusammenhängen zwischen Musik und Stadt, so findet man in unterschiedlichen wissenschaftlichen Disziplinen wertvolle Ansätze. Die Musik- wissenschaft mit ihren zahlreichen Sub-Feldern hat allerdings bis auf einige re- zentere Ausnahmen (Rösing 2000; Klotz 2012) zu diesem Thema vergleichsweise wenig zu bieten. Für die Historische Musikwissenschaft stellt die Kategorie Stadt zwar einen wichtigen Referenzrahmen dar; die Perspektive

In Search of London’s Independent Music Theatre Scenes Thom Andrewes The task of mapping London’s independent music theatre scene presents both sig- nificant challenges and rare opportunities. Any such survey must reckon with the city’s huge scale, the breadth of creative activity that it contains and the relative fragmentariness of this activity. Another challenge is presented by the phrase ‘in- dependent music theatre’ itself. Recent literature on music theatre has stressed the vagueness of the term in an English-speaking context: specifically its interchange

Stress in Music Managers and Artists: Pilot Study on Czech and Slovak Students KATEŘINA VAŠÍČKOVÁA, ANDREA MIKOTOVÁB*1,1 LUCIE ŠILEROVÁC*22 A,B,C Department of Music Production, Faculty of Music, Janáček Academy of Music and Performing Arts, Brno, Czech Republic Abstract The aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo

A New Perspective on Music's Mediation
(E)Valuating Space, Diversity and Exchange
Music in Motion
Diversity and Dialogue in Europe. Study in the frame of the »ExTra! Exchange Traditions« project