Brandon Farnsworth

ORCID:0000-0001-9095-2360

Brandon Farnsworth, born in 1991, works as an independent music curator, and as a research associate at the Zurich University of the Arts, where he also studied classical music performance and transdisciplinary studies. He pursued his doctoral degree in historical musicology at the University of Music Carl Maria von Weber Dresden, and was an affiliated researcher with the joint »Epistemologies of Aesthetic Practice« doctoral program at the Collegium Helveticum. His research focuses on the intersection of performance and curatorial studies, and strives for a global perspective.

transcript-Publications in the Research Fields: Cultural Management, Cultural Management, Museum, Museum Management and Exhibition Practice, Musicology, Musicology and Sound Studies

Publications in the Series: Music and Sound Culture

Web: Hochschule Zürich
ResearchGate
www.brandonfarnsworth.com

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Curating Contemporary Music Festivals
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Curating Contemporary Music Festivals

A New Perspective on Music's Mediation

What does it mean to curate contemporary music festivals, and how can the concept be used to re-imagine the very premise of contemporary music itself?

Book Chapter


  1. Curating Contemporary Music Festivals

    Frontmatter

    Seiten 1 - 4
  2. Contents

    Seiten 5 - 8
  3. Image and Figure Rights

    Seiten 9 - 10
  4. 1.1 Establishing the Field

    Seiten 11 - 15
  5. 1.2 The State of the Art

    Seiten 15 - 23
  6. 1.3 Scope and Overview

    Seiten 23 - 28
  7. 2.1 Introduction

    Seiten 29 - 40
  8. 2.2 The Anatomy of Festivals and Biennales

    Seiten 40 - 60
  9. 2.3 Curating Biennales

    Seiten 61 - 80
  10. 2.4 Curatorial Discourse

    Seiten 80 - 94
  11. 2.5 Conclusion

    Seiten 94 - 96
  12. 3.1 Introduction

    Seiten 97 - 98
  13. 3.2 Reading Shannon Jackson

    Seiten 98 - 111
  14. 3.3 Curating Dance / Dance Curating

    Seiten 111 - 124
  15. 3.4 Curating Theatre / Theatre Curating

    Seiten 124 - 136
  16. 3.5 Conclusion

    Seiten 136 - 138
  17. 4.1 Introduction

    Seiten 139 - 141
  18. 4.2 Hans Werner Henze

    Seiten 141 - 145
  19. 4.3 Music Theatre?

    Seiten 145 - 148
  20. 4.4 Peter Ruzicka

    Seiten 148 - 162
  21. 4.5 Daniel Ott and Manos Tsangaris (DOMTS)

    Seiten 162 - 169
  22. 4.6 The 2016 and 2018 Biennale Editions

    Seiten 169 - 180
  23. 4.7 Compositional and Curatorial Practices

    Seiten 180 - 203
  24. 4.8 The Munich Biennale in Numbers.

    Seiten 203 - 215
  25. 4.9 Conclusion

    Seiten 216 - 218
  26. 5.1 Introduction

    Seiten 219 - 222
  27. 5.2 A Brief Prehistory to the Maerzmusik Festival

    Seiten 222 - 228
  28. 5.3 Maerzmusik 2002–2014

    Seiten 228 - 230
  29. 5.4 Berno Odo Polzer

    Seiten 230 - 247
  30. 5.5 2017 Opening Concert: Julius Eastman

    Seiten 247 - 257
  31. 5.6 Storytelling for Earthly Survival

    Seiten 258 - 268
  32. 5.7 Curating and the Maerzmusik Festival

    Seiten 268 - 273
  33. 5.8 Decolonizing Time

    Seiten 273 - 277
  34. 5.9 Conclusion/Coda/Konzertemacher

    Seiten 277 - 280
  35. 6. Conclusion/Curating Music

    Seiten 281 - 288
  36. Bibliography

    Seiten 289 - 310
  37. Appendix: List of Productions at the Munich Biennale for New Music Theatre from 1988–2018

    Seiten 311 - 326

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