Das IKI ist ein An-Institut der Hochschule für Musik und Theater Hamburg.

 

 

Publikationen

"Developing Audiences for Contemporary Classical Music: A Comparative Study of Strategies Across New Music Institutions in Europe" von Gina Emerson

The new publication takes a multidimensional view of the audience experience of newly composed music and looks at how musical expertise and the frames of social context and concert format shape aesthetic responses to this often challenging art form (analysed as a ‘high art subculture’). Working in collaboration with the Ulysses Network from 2016 to 2020, she conducted audience surveys at twelve contemporary classical music concerts from a range of institutions across Europe, including IRCAM, the Darmstadt Summer Course for New Music, Snape Maltings and the Ultima Festival, producing the first large-scale study on this topic.

Neuerscheinung in der Schriftenreihe des IKI

Die Dissertation von Jenny Svensson, Die Kunst, Kultur (nicht nur) zu messen: Evaluation im Theater- und Kultubetrieb ist im LIT Verlag erschienen.

mehr

Kultur-Kommunikation
im Wettbewerb

Die Publikation zum Hamburger Preis für Kultur-Kommunikation Rudolf Stilcken ist im KMM-Verlag in Kooperation mit dem IKI erschienen.

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Kunst Kultur und Ethik Essay von Reinhard D. Flender
Der Antisemitismus Skandal auf der letzten documenta hat gezeigt, dass die ethische Verantwortung von Kunstschaffenden nicht von der Politik oder Juristen übernommen werden kann, sondern nur durch die Kunstschaffenden selber, die sich zu einem Code of conduct selbst verpflichten. Nur so kann die Freiheit von Kunst und Kultur erhalten bleiben.
Text Kunst und Ethik Stand 16. 9. 22.pdf
Adobe Acrobat Dokument 345.5 KB

Gerhard Trede-Preis für Arrangement und Komposition 2024

Zum zweiten Mal schreibt das Institut für kulturelle Innovationsforschung im Auftrag der Gerhard Trede-Stiftung den Gerhard Trede-Preis für Arrangement und Komposition aus. 

 

Alle Informationen zum Preis sind auf der Website der Gerhard Trede-Stiftung unter www.gerhard-trede.com/preis abrufbar.

 

Am 06. November 2024 um 19 Uhr findet die feierliche Preisverleihung in der JazzHall der HfMT statt. Der Eintritt ist frei.

 

Opern- und Promotionsstipendium 2022

Clemens Thomas erhält das Opernstipendium der Claussen Simon Stiftung 2022. Er wird für die opera stabile die Oper "Dollhouse" komponieren und an der Hochschule für Musik und Theater über "Cuteness" als ästhetische Kategorie in Bild und Musik promovieren. Die Uraufführung findet am 29. 11. 2024 statt:                        Staatsoper Hamburg / Opera Stabile                                        Libretto: Friedemann Dupelius                                                    Regie: Alicia Geugelin                                                        Musikalische Leitung: Rupert Burleigh                                         Bühne: Letycia Rossi, Kostüme: Pia Preuß, Dramaturgie: Janina Zell, Klangregie: Tilman Dasbach, Sänger*innen des internationalen Opernstudios der Staatsoper Hamburg, Musiker*innen des Staatsorchesters Hamburg                                                        Weitere Informationen https://clemenskthomas.de/

Wir danken unseren Partnern, die dieses Stipendium  ermöglicht haben!

Ergebnisse des IkI Forschungsprojekts zur Publikumsforschung: "Developing Audiences for Contemporary Classical Music: A Comparative Study of Strategies Across New Music Institutions in Europe" - Dissertation von Gina Emerson veröffentlicht

Summary of the doctoral thesis, Between the ‘Experimental’ and the ‘Accessible’: Investigating the Audience Experience of Contemporary Classical MusicContemporary classical music (CCM) has long had a difficult relationship to audiences. A range of interconnected causes for this situation have been cited, from the radical musical languages adopted by composers in the 20th century, in particular post 1945, to cuts to arts funding and music education. While the ‘audience problem’ in CCM has been much discussed, there have been very few studies of audiences and their experiences with this music. This thesis presents findings from the first large- scale empirical study on the audience experience of CCM. I conducted surveys with quantitative and qualitative elements at twelve CCM concerts (N = 1428) across ten different European countries, in collaboration with the Ulysses Network. The central aim was to offer a multidimensional, interdisciplinary view of audiences’ experiences and to deliver insights relevant to music sociology (contributing to a ‘sociology of CCM’) and audience research, but also to practitioners and institutions working with CCM. The study responds to seven research questions (RQs), exploring demographics and motivations to attend CCM concerts (RQ1), tastes around and perceptions of the genre (RQ2), ratings of audience experiences in the concert hall and their relationship to audiences’ perceptions of CCM (RQ3), the aesthetic experience of works of CCM (RQ4), views on alternative concert formats (RQ5), institution-audience relationships (RQ6) and classical audiences’ views of this genre via a smaller survey of three classical music audiences (N = 670, RQ7).


The results reveal that receiving newly composed music in a live setting is a complex task. The ‘social’ and the ‘aesthetic’ (Born, 2010a) combine in this act and produce many factors that are in consideration while audiences are silently listening. Among other things, this study shows that the context or frame ‘around’ the music is found to be very important in the audience experience of CCM: works with significant extramusical features were received more positively or brought about an intensification of the audience experience. Musical expertise is identified as a key factor in bringing audiences to CCM and influencing their experiences with and perceptions of the genre. On the basis of the audience data, I define CCM as a ‘high art subculture’ inextricably linked to classical music, its audience negotiating the genre’s tensions around ‘experimentalism’ on the one hand and ‘accessibility’ on the other. I offer recommendations to institutions based on the findings and perspectives on the future of CCM and its relationship to audiences.

Dr. Gina Emerson is a researcher, project manager and curator in the fields of contemporary and classical music, based in Berlin. Her work explores and connects the topics of audience experience, sustainability, cultural participation and the use of new technologies in art music contexts.

She is currently a Research Associate on the collaborative research project ‘Ein nachhaltiger Kulturauftrag für Musik – ein neuer Aspekt orchestraler Exzellenz’, a joint initiative by the IASS Potsdam and the Kammerakademie Potsdam. She is supporting the orchestra in developing and implementing a socio-ecological sustainability strategy, whilst also exploring how classical music can build sustainable relationships with a range of communities and the role it can play in the wider sustainability discourse. She is a member of the Art-Science Cooperations for Sustainability research group at the IASS.