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
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Curating Contemporary Music Festivals
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Brandon Farnsworth
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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