The 8th Vienna Music Business Research Days will be held at the University of Music and Performing Arts Vienna, Austria, from September 12 to 14, 2017. This interdisciplinary conference on “Unchaining the Digital Music Business” calls for methodological multiplicity and is open to scholars from all scientific areas. The conference organizers invite scholars who have a research focus on music business/industry related topics to submit a paper proposal by March 31, 2017.
The IAMA – International Artists Management Association - meetings twice a year are a firm date in many artist manager’s diaries. The first one of this year took place in Utrecht, Holland April 7-9, 2016, and attracted over 400 delegates with the motto “Shake it off”. This could be interpreted in various ways – shake off the depressive mood that has become so prevalent when talking about classical music or shake off the old ways of doing business and take active steps in new directions. Both interpretations were equally valid within the context of the discussions.
Most professional orchestras today are confronted with growing difficulties to make ends meet. The South Netherlands Philharmonic (SNPh) is the result of severe cuts in Netherlands state subsidies for the arts. These cuts resulted in the merger of two former orchestras into the SNPh. In the past running an orchestra was first an artistic task, and to lead an orchestra meant to concentrate on artistic values. Today, it has become a complex management issue. The SNPh started in 2013 after extensive strategic financial and managerial approaches were made. At the beginning of its third season the new orchestra is now widely seen as a successful artistic body and a flourishing arts-institution with a close relationship to its region. Stefan Rosu, the orchestra's first director general and artistic director, describes for us this fast and astonishing development.
It has once again come to that time of year where Classical:NEXT begins its hunt for the best and brightest in art music. To offer an exceptional programme in Rotterdam on May 25-28 2016, Classical:NEXT assembles a handpicked selection of artists, speakers and projects each year. The organizers are calling for outstanding “NEXT” artists and classical music projects as well as future-oriented topics and interactive conference formats. Propose your Showcase, Conference Session or Project Pitch for the jury-selected programme of the next edition. The deadline to apply is Friday, 25 September 2015.
Peter Gelb is General Manager of the Metropolitan Opera, one of the world’s largest and most complex arts organizations. Since his inauguration in 2006, he launched a number of new ventures for the Met, capitalizing on new media, theatrical broadcast, and a higher rate of new productions per year. Focusing on new and younger audiences, he brought grand opera to an audience of millions and opened a new revenue stream. But the debts are still growing and as the Met is „the most lavish privately financed opera house in the world“, the opinion of the wealth and patronaging older opera lovers play an important role when it comes to management decisions. The „fight at the opera“, that began when Gelb decided to combine the financial and general management with that of the overall creative director, is described by James B. Stewart in The New Yorker. It is comparable to the recent discussions about Chris Dercon, museum curator and director of the Tate Gallery, about his appointment as the new director of the Berlin Volksbuehne theatre. James Abruzzo has looked at the critique and the skills needed to lead an arts institution.
The classical and contemporary music marketing agency WildKat PR has announced the launch of The Noted Innovation Fellowship. It will introduce newcomers to leading arts mangers in order to progress their careers. Kathleen Alder, founder of WildKat PR, has identified an interesting phenomenon in the classical music industry: There is a lot of financial support, encouragement and interest in finding the next big thing or prominent young artist to be on stage. But there is very little support for finding the youth and fresh thinking off stage. She feels that there is much more potential to attract new audiences and keep the industry alive. The formula of bringing innovative ideas, new technology, and youth passion is what has made WildKat PR one of the key agencies in the performing arts sector. Kathleen actively encourages hiring young staff with a passion for classical music and the arts. With this fellowship, she aims to educate and inspire a new generation of diverse and creative cultural leaders.
The 6th Vienna Music Business Research Days will be held at the University of Music and Performing Arts Vienna, Austria, from September 29 to October 01, 2015. Music Business Research is an interdiscipline at the intersection of economic, artistic, cultural, social, legal, technological and further developments which contribute to the creation/production, dissemination/ distribution and reception/consumption of music. This interdisciplinary nature calls for methodological multiplicity and is open to scholars from all scientific areas.
The call for programming proposals for Classical:NEXT 2015, to be held in Rotterdam, the Netherlands, from Wednesday, 20 - Saturday, 23 May 2015, has officially opened. Professionals from across the world concerned with classical and art music are encouraged to submit their ideas, projects or music as well as put forward innovative and interactive conference formats.
There are all kinds of starting points for discovery trips in today’s dynamic and developing music education scene. One journey might begin here: in the midpoint of Europe, in the Grand Duchy of Luxembourg, where the Philharmonie Luxembourg is situated. The concert hall here, designed by architect Christian de Portzamparc, is also home to the Orchestre Philharmonique du Luxembourg (OPL). By Stephan Gehmacher and Pascal Sticklies.
Three-quarters of the audience in a football stadium does not understand the moves. And still, they all attend. An essay about the idea that classical music could also be suitable for the masses, as the problem is not because of music’s complexity but through its elitist status. A contribution by Benedikt Stampa who has led the Konzerthaus Dortmund as its managing director and intendant since 2006, turning it into one of Europe’s leading concert venues within a short period of time. Since 2012, Dortmund belongs to ECHO, the consortium of Europe’s most important concert houses. He has also developed path-breaking classical formats such as Junge Wilde, Pop-abo, Zeitinseln, and Exklusivkünstler, all of which are drawing a new generation of public to classical music.