TY - BOOK AU - Grüny,Christian AU - Farnsworth,Brandon ED - SpringerLink (Online service) TI - New Music and Institutional Critique T2 - Ästhetiken X.0 – Zeitgenössische Konturen ästhetischen Denkens, SN - 9783662671313 AV - ML197.2 U1 - 780.9 23 PY - 2024/// CY - Berlin, Heidelberg PB - Springer Berlin Heidelberg, Imprint: J.B. Metzler KW - Music KW - History and criticism KW - Performing arts KW - Theater KW - Aesthetics KW - Philosophy and aesthetics KW - Contemporary Music KW - Theatre and Performance Arts KW - Philosophy of Music N1 - 1. Introduction -- I Scholars -- 2. Institutions Against Art Music—Curation, Rehearsal, and Contemporary Art -- 3. Gender Issues as Criticism within (New) Music Institutions -- 4. Darmstadt and its Discontents -- 5. Epistemological Stagflation and the Crisis of Democracy in Contemporary Music Research -- 6. Black Music’s Institutional Critique -- II Artists -- 7. My Via Dolorosa from (Impotent) Institutional Critique to the Founding of my own Institution, the Norwegian Opra, with the Gradual Construction of the followers of ø Opra-Dorf on a Meadow in the Swedish Forest, thereby (Maybe) Saving the Autonomy of Art -- 8. Sheltering Each Other from the Storms to Come. Why we need to become allies rather than critics of liberal cultural institutions -- 9. Gender Relations in New Music is Institutional Critique -- 10. Ark -- 11. On the Kunsthalle for Music and (Music-)Institutional Critique -- III Interviews -- 12. “We started expanding the ‘us,’ rather than including someone else” – Peter Meanwell and Tine Rude interviewed by Brandon Farnsworth -- 13. “Don’t expect the wrong things from institutions.” – Berno Odo Polzer interviewed by Christian Grüny -- 14. “Pockets of Obscure Skills” – Samson Young interviewed by Brandon Farnsworth -- 15. “Positioning myself between stools” – Hannes Seidl interviewed by Christian Grüny -- 16. “Framing Europe” – meLê yamomo interviewed by Theresa Beyer; Open Access N2 - While institutional critique remains a significant part of artistic practice and theoretical debate in the arts, its has long escaped scholarly attention in the field of music. This open access volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For researchers, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today UR - https://doi.org/10.1007/978-3-662-67131-3 ER -