The Value of Curating Music

TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 71-84
Keyword(s):  
Risk Taking ◽  
Contemporary Music ◽  
Ethical Perspective ◽  
Music Festival ◽  
Music Production ◽  
Live Music ◽  
Central Argument ◽  
Value Measurement ◽  
Venice Biennale ◽  
Do So

This article examines the practice of concert organization from an ethical perspective. By examining the field in relation to the notion of value, it explores the processes by which curators produce live acts, and the issues they face when they do so. The central argument traces a trajectory from the material to the immaterial aspects. The first part (Context and Value) shows how financial and cultural matters are embedded into live music production, and frames curatorship as the articulation of their co-dependent relations. The second part (Praxis) explores how music curators breathe value creation in their work context, by comparing interviews with the directors of Venice Biennale Musica, London Contemporary Music Festival, and No-Nation. The third part (Risk and Ethics) introduces risk-taking as a unit of value measurement, and points out the force of the curatorial in its power to confer value.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

La fotografia live istant come dispositivo costruttivo di booty Looting di Wim Vanderkeybus.

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Arianna Novaga
Keyword(s):  
False Memories ◽  
Art World ◽  
The Real ◽  
Photographic Image ◽  
Dance Company ◽  
Susan Sontag ◽  
Live Music ◽  
The One ◽  
Venice Biennale

The Belgian theatre-dance company Ultima Vez – founded by the director and choreographer Wim Vandekeybus – presented Booty Looting in 2012, at the Venice Biennale Danza. On the stage, a complex and apparently disordered narrative rhapsody, brings into play complementary diegetic coefficients: while a story straddles the real and the imaginary, the dancers become consumed actors, the actors dance and live music fills the empty spaces. But the real beating heart of the show is the photographer, who is entrusted with the delicate task of deciphering the feverish dynamism of the scene to move the public's attention elsewhere, as if to give them a relaxing break from the chaos. The photographic image, taken and reported in real time on the screen at the bottom of the stage, freezes some salient moments of that convulsive movement, almost to break it down anatomically into parts of a 'muybridgian' conception. The photographer, always active during the representation, is an integral part of the story, becoming a performer himself so that his intervention determines the dramaturgical development of the plot. The visual quality of the scene is strongly enhanced by live photographic images, which are often attributable to known visual models. Booty looting literally means stealing what has already been the object of theft, exactly as it happens in the art world, according to the perspective of Vandekeybus. Photography is seen here as an instrument that on the one hand makes it useful to prove the reality of facts, but at the same time declares its ability to lie, to deform memory, to create false memories, to become misleading echoes of experiences actually lived. Between truth and deceit, the photographic image plunders the world and gives us the feeling of being able to know and know it in depth - as Susan Sontag teaches - but it is only a distorted memory that confuses and falsifies the real.

scholarly journals ‘Bold Tendencies’: London Contemporary Music Festival, Peckham multi-storey car park, London, 25–28 July, 1–4 August 2013

Tempo ◽  
2014 ◽  
Vol 68 (267) ◽  
pp. 63-65
Author(s):  
Newton Armstrong
Keyword(s):  
Large Scale ◽  
Contemporary Music ◽  
Music Festival ◽  
Car Park

There is a certain audacity to four young curators adopting the title ‘London Contemporary Music Festival’ for their first large-scale collective venture. For a festival that deliberately sets out to sidestep the musical establishment, there's an aspect of calculated provocation in the appropriation of a title that would seem to be the preserve of that establishment. The gesture, however, goes some way further than staking a symbolic claim. At the same time as the curators (Aisha Orazbayeva, Sam Mackay, Igor Toronyi-Lalic and Lucy Railton, in collaboration with the commissioning body Bold Tendencies, based at the Peckham Multi-Storey Car Park) have effectively bypassed the establishment networks and funding structures, they have set out a clear alternative narrative about how contemporary music may yet be practised and understood.

London Contemporary Music Festival: 13–15 2015

Tempo ◽  
2016 ◽  
Vol 70 (277) ◽  
pp. 84-86
Author(s):  
Ben Zucker
Keyword(s):  
Contemporary Music ◽  
Music Festival ◽  
Sensory Overload

It seems impossible at first to review multiple nights of the London Contemporary Music Festival all at once – over the course of a week the cavernous Ambika P3 gallery hosted a sensory overload of music that, while not always new, was certainly contemporary in the atypical thematic presentations, bringing together provocative works in provocative ways. Running from 11 to 17 December, the three middle nights of LCMF all dealt with the monumental: large, long works that opened up audience perceptions by virtue of extended contemplation. The concerts on Sunday and Tuesday lasted over three hours; they weren't easy, but they prompted salient experiences.

Can supervising self-harm be part of ethical nursing practice?

2011 ◽  
Vol 18 (1) ◽  
pp. 79-87 ◽  
Author(s):  
Steven D Edwards ◽  
Jeanette Hewitt
Keyword(s):  
Nursing Practice ◽  
Prevention Strategy ◽  
Ethical Perspective ◽  
Tentative Conclusion ◽  
Practical Support ◽  
History Of ◽  
Self Harm ◽  
Do So ◽  
Competing Responses

It was reported in 2006 that a regime of ‘supervised self harm’ had been implemented at St George’s Hospital, Stafford. This involves patients with a history of self-harming behaviour being offered both emotional and practical support to enable them to do so. This support can extend to the provision of knives or razors to enable them to self-harm while they are being supervised by a nurse. This article discusses, and evaluates from an ethical perspective, three competing responses to self-harming behaviours: to prevent it; to allow it; and to make provision for supervised self-harm. It is argued that of these three options the prevention strategy is the least plausible. A tentative conclusion is offered in support of supervised self-harm.

scholarly journals ‘IT'S NOT SOMETHING ONE CAN DELIBERATELY SET OUT TO DO’: CHRISTIAN WOLFF IN CONVERSATION

Tempo ◽  
2017 ◽  
Vol 72 (283) ◽  
pp. 56-79
Author(s):  
James Gardner ◽  
Christopher Fox
Keyword(s):  
New Zealand ◽  
Contemporary Music ◽  
The Political ◽  
Music Festival ◽  
Christian Wolff ◽  
The 1950S ◽  
The 1960S

ABSTRACTIn 2002 Christian Wolff was a guest composer at the Huddersfield Contemporary Music Festival and during the course of the festival he was interviewed by Christopher Fox and by James Gardner. Fox's interview took place before an audience in the Lawrence Batley Theatre on 25 November; Gardner's interview was recorded in private in the George Hotel, Huddersfield on 27 November, and edited excerpts from that recording were subsequently used in a programme produced by Radio New Zealand. The conversation presented here has been compiled by James Gardner from his transcriptions of the two interviews and presents a wide-ranging discussion of Wolff's musical preoccupations across every phase of his compositional career, from the early piano pieces of the 1950s, to his involvement with indeterminacy in the 1960s, to the political concerns evident in his music after 1970, to the works of the last three decades in which indeterminate and determinate methods of composition are combined.

An Effective Risk Minimization Strategy Applied to an Outdoor Music Festival: A Multi-Agency Approach

2018 ◽  
Vol 33 (2) ◽  
pp. 220-224 ◽  
Author(s):  
Matt Luther ◽  
Fergus Gardiner ◽  
Shane Lenson ◽  
David Caldicott ◽  
Ryan Harris ◽  
...  
Keyword(s):  
Risk Taking ◽  
First Aid ◽  
Onset Date ◽  
Risk Minimization ◽  
Australian Capital Territory ◽  
Publication Type ◽  
Music Festival ◽  
Australian Capital ◽  
Medical Response ◽  
Risk Taking Behavior

Specific Event Identifiersa. Event type: Outdoor music festival.b. Event onset date: December 3, 2016.c. Location of event: Regatta Point, Commonwealth Park.d. Geographical coordinates: Canberra, Australian Capital Territory (ACT), Australia (-35.289002, 149.131957, 600m).e. Dates and times of observation in latitude, longitude, and elevation: December 3, 2016, 11:00-23:00.f. Response type: Event medical support.AbstractIntroductionYoung adult patrons are vulnerable to risk-taking behavior, including drug taking, at outdoor music festivals. Therefore, the aim of this field report is to discuss the on-site medical response during a music festival, and subsequently highlight observed strategies aimed at minimizing substance abuse harm.MethodThe observed outdoor music festival was held in Canberra (Australian Capital Territory [ACT], Australia) during the early summer of 2016, with an attendance of 23,008 patrons. First aid and on-site medical treatment data were gained from the relevant treatment area and service.ResultsThe integrated first aid service provided support to 292 patients. Final analysis consisted of 286 patients’ records, with 119 (41.6%) males and 167 (58.4%) females. Results from this report indicated that drug intoxication was an observed event issue, with 15 (5.1%) treated on site and 13 emergency department (ED) presentations, primarily related to trauma or medical conditions requiring further diagnostics.ConclusionThis report details an important public health need, which could be met by providing a coordinated approach, including a robust on-site medical service, accepting intrinsic risk-taking behavior. This may include on-site drug-checking, providing reliable information on drug content with associated education.LutherM, GardinerF, LensonS, CaldicottD, HarrisR, SabetR, MalloyM, PerkinsJ. An effective risk minimization strategy applied to an outdoor music festival: a multi-agency approach. Prehosp Disaster Med. 2018;33(2):220–224.

Live Music and Festivals

2013 ◽  
Author(s):  
Dr Daragh O’Reilly ◽  
Dr Gretchen Larsen ◽  
Dr Krzysztof Kubacki
Keyword(s):  
Social Situations ◽  
Music Festivals ◽  
Music Festival ◽  
Form And Function ◽  
Live Music ◽  
Production And Consumption ◽  
Music Venues ◽  
Historical Developments ◽  
And Function ◽  
Important Variant

The purpose of this chapter is to explore the importance of live music, music venues, music festivals and live music promotion in the production and consumption of music. As shown in Chapter 3, music is a complex product which can be enjoyed in a wide range of social situations, from listening to music in one’s own home or car, through enjoying a concert in a large music venue like an opera house or stadium, to spending several days at a music festival attended by over a million people. This chapter therefore begins with an attempt to provide an understanding of some of the historical developments of live music, its main characteristics, and the reasons behind its growing popularity. Music festivals are an important variant of live music, and the chapter also includes a discussion of the nature, form and function of music festivals, their multiple impacts and the marketing issues which they present.

When Co-Creation meets Art for Social Change: the Street Beats Band

2020 ◽  
pp. 173-188
Author(s):  
Juliet Carpenter
Keyword(s):  
Social Change ◽  
Local Community ◽  
Contemporary Music ◽  
Structural Constraints ◽  
Community Members ◽  
Professional Musicians ◽  
Music Festival ◽  
Percussion Instruments ◽  
Found Object ◽  
Embedded Power

This chapter explores the interface between the concept of Co-Creation and the ‘Art for Social Change’ movement, taking the case of the Street Beats Band, a community-based percussion band in Vancouver, Canada. Local community members in the band collaborated with professional musicians, to perform a commissioned work at an International Contemporary Music Festival, on ‘found object’ percussion instruments that had been curated by members of Vancouver’s ‘binner’ community. The chapter illustrates that a Co-Creative process such as the Street Beats Band can empower and build community, as well as confront conventional thinking and trouble received narratives and expectations. However, while the methodology of Co-Creation holds critical potential as a tool to challenge stereotypes and marginalisation, it nevertheless operates with the structural constraints of deeply embedded power hierarchies that dominate discourse around urban disadvantage. The chapter also highlights the potential tensions and dilemmas that are embedded within a Co-Creation process, due to different visions, interests and inevitable power hierarchies. These issues should be acknowledged, addressed and negotiated by those involved, for Co-Creation to achieve its potential.

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