Representing 'Classical Music' in the Twenty-First Century

代表二十一世纪的“古典音乐”

• 批准号: AH/S006710/1
• 负责人: Adrian Curtin
• 金额: $ 3.86万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FS006710%2F1
• 关键词: Representing; Classical; Music; Twenty; First

This network will connect scholars in the humanities and social sciences with professionals working in the arts and media to foster interdisciplinary and cross-sector dialogue, develop research projects, promote the creation of new artistic work, disseminate knowledge, and inform industry practices concerning the representation of 'classical music' in the twenty-first century, especially in the UK. The network will adopt an innovative, dual focus on representation: it will consider contemporary artistic and media representation *of* classical music (e.g., plays and films depicting 'classical' musicians) as well as demographic representation *in* the classical music industry. The latter includes representation of 'classical' musicians by agents and record companies; musicians' self-representations (e.g., on social media); and the demographics of the classical music profession and repertoire vis-à-vis gender, class, (dis)ability, and ethnicity. The issue of representation will thus be addressed in multiple spheres. This network will provide a forum for conversations that are currently happening in a disconnected manner, and facilitate joined-up thinking about topics that can easily be compartmentalised. Questions about what classical music represents, whom it represents, and who is missing or under-represented in its practices are currently to the fore of public and scholarly debate about the art form and the profession, rendering this a highly topical, urgent set of concerns. The classical music sector has been criticised for being elitist, patriarchal, chauvinistic, and predominantly white. These criticisms may not be uniformly fair or accurate, especially in a global context, yet it is clear there is still work to be done to achieve equal opportunities and inclusion. The classical music industry has endeavoured to reinvent itself by shaking off its perceived 'stuffiness', cultivating new audiences, diversifying programming and ensembles, and experimenting with new performance formats and technologies. Concurrently, representations of classical music in the arts are taking new forms, such as the role-playing video game Eternal Sonata (2007), centred on the Romantic composer Frédéric Chopin, and the popular Amazon television series Mozart in the Jungle (2014-2018). Representations of this sort help to shape ideas about classical music among its devotees and, more broadly, in the popular imaginary, although the relationship between representations and the 'reality' of the profession is, of course, not one-to-one. Artistic representation and 'reality' do not necessarily align, though they can influence one another -- but how, exactly? To what extent are artistic/media representations of classical music helping or hindering efforts to change industry practices? This network will answer these and other research questions by bringing greater clarity to the function of representation in the 'circuit of culture' concerning classical music.Special attention will be given to the authoring, authorising, and embodying of representation in both the practice and depiction of classical music-making. How is classical music differently understood when it is embodied by people who are not traditionally associated with it (e.g., disabled people, ethnic minorities)? The network will contribute to the debate about representation in classical music by exploring the power of images and embodied presence to re-shape popular conceptions of the art-form. It will advocate for how representation might be conducted more equitably and constructively by offering a 'key findings' report to be circulated across the sector. An emerging BAME and/or disabled artist will be invited (through a 'call out' commission) to participate in network discussions and produce a new script for theatre, radio, TV, or film that engages with the network's main themes, thus helping the network to advance artistic enterprise as well as scholarly research.

该网络将把人文和社会科学的学者与艺术和媒体领域的专业人士联系起来，以促进跨学科和跨部门的对话，开发研究项目，促进新的艺术作品的创作，传播知识，并向业界提供有关21世纪“古典音乐”表现形式的信息，特别是在英国。该网络将采用创新的双重关注表现：它将考虑古典音乐的当代艺术和媒体表现(例如，描绘‘古典’音乐家的戏剧和电影)以及古典音乐产业中的人口统计表现。后者包括经纪公司和唱片公司对“古典”音乐家的代表；音乐家的自我表现(例如，在社交媒体上)；以及古典音乐职业和曲目相对于性别、阶级、能力和种族的人口统计数据。因此，代表权问题将在多个领域得到解决。这个网络将为目前正在以不相连的方式进行的对话提供一个论坛，并促进对容易被划分的主题的联合思考。关于古典音乐代表什么，它代表谁，以及谁在其实践中缺失或代表不足的问题，目前正处于关于艺术形式和专业的公共和学术辩论的前沿，这使这成为一个高度热门和紧迫的问题。古典音乐领域一直被批评为精英主义、父权制、沙文主义和以白人为主。这些批评可能不是一致公正或准确的，特别是在全球范围内，但显然仍有工作要做，以实现机会平等和包容。古典音乐产业一直在努力重塑自己，努力摆脱被人感觉到的“沉闷”，培养新的受众，使节目和乐团多样化，并试验新的表演形式和技术。与此同时，古典音乐在艺术中的表现正在采取新的形式，例如以浪漫主义作曲家弗雷德里克·肖邦为中心的角色扮演视频游戏《永恒的奏鸣曲》(2007)，以及亚马逊广受欢迎的电视连续剧《丛林中的莫扎特》(2014-2018)。这种表现形式有助于在古典音乐爱好者中形成关于古典音乐的想法，更广泛地说，在流行的想象中，尽管表现形式与专业的“现实”之间的关系当然不是一对一的。艺术表现和“现实”不一定是一致的，尽管它们可以相互影响--但具体是如何影响的呢？古典音乐的艺术/媒体表现在多大程度上有助于或阻碍改变行业惯例的努力？这个网络将回答这些和其他研究问题，使代表在与古典音乐有关的“文化循环”中的作用更加清晰。将特别关注代表在古典音乐创作实践和描述中的创作、授权和体现。当古典音乐由传统上与之无关的人(如残疾人、少数民族)所体现时，如何以不同的方式理解它？该网络将通过探索图像和身临其境的力量来重塑流行的艺术形式概念，为关于古典音乐表现形式的辩论做出贡献。它将通过提供一份将在整个部门分发的“关键调查结果”报告，倡导如何以更公平和建设性的方式进行代表工作。一位新出现的BAME和/或残疾艺术家将被邀请参加网络讨论，并为戏剧、广播、电视或电影制作与网络主题相关的新剧本，从而帮助网络推进艺术事业和学术研究。

项目成果

Racial Dynamics: The Casting of Lucian Msamati as Salieri in the National Theatre's 2016 Production of Amadeus

种族动态：国家剧院 2016 年制作的《艾玛迪斯》中卢西恩·姆萨马蒂 (Lucian Msamati) 饰演萨列里 (Salieri)

• DOI: 10.16995/olh.4697
• 发表时间: 2021
• 期刊: Open Library of Humanities
• 影响因子: 0.5
• 作者: Curtin A

Classical Music Goes Viral: Memeings and Meanings of Classical Music in the Wake of Coronavirus

古典音乐病毒式传播：冠状病毒后古典音乐的模因和意义

• DOI: 10.16995/olh.4678
• 发表时间: 2021
• 期刊: Open Library of Humanities
• 影响因子: 0.5
• 作者: Hyltén-Cavallius S

'Wherever You Are Whenever You Want': Captivating and Encouraging Music Experiences when Symphony Orchestra Performances are Provided Online

• DOI: 10.16995/olh.4679
• 发表时间: 2021-01-01
• 期刊: OPEN LIBRARY OF HUMANITIES
• 影响因子: 0.5
• 作者: Bergman, Asa

Orchestral Theatre and the Concert as a Performance Laboratory

作为表演实验室的管弦剧场和音乐会

• DOI: 10.1017/s0266464x19000356
• 发表时间: 2019
• 期刊: New Theatre Quarterly
• 影响因子: 0.1
• 作者: Curtin A

Introduction: Representation in/of Classical Music

简介：古典音乐的表现

• DOI: 10.16995/olh.8252
• 发表时间: 2022
• 期刊: Open Library of Humanities
• 影响因子: 0.5
• 作者: Curtin A