Classical Music Network Symposium

2. Create an online space for members of the network to list possible research questions for future studies/grant applications, allowing other people to read these and offer to collaborate or work on that questions

3. Find a way to share thoughts/ outcomes/ discussions widely, with contribution from academic, industry experts and PGRs/ECRs. Online blogs? New cultural industries online journal?

4. Create a set of aims and outcomes specifically on how this network can feed into policy:

a) Set up a meeting with UK music?

b) Look at relevant white papers/reviews for the network to feed into (e.g. upcoming KE review)

c) Identify local council figures and agendas that we could feed into, people on side who could advise on how to get outcomes in front of DFE, DCMS etc.

How can we implement a sustainable togetherness in research, but also cultural life?

Community engagement. Go into groups and observe their lives, let people become naturally part of the research. Create together experience and together making.

2. Cooperation projects: researchers and professionals from cultural industry

3. Funding and support policies for research about culture

What skills do 21st century musicians need to thrive in their profession? Are teachers ready to provide them?

Musicians need no new skills - they are some of the most skillful people out there. Instead they should be allowed more vulnerability, enjoyment and ways to care for “classical music”; by their institutions, teachers and colleagues. Are teachers ready? Probably not. But so are the institutions. Instead we should ask: how can we support teachers to do that? What do we need to encourage that?

What are some methods we can develop to “normalise” the crossing of boundaries between stakeholders in music worlds?

I don’t know BUT for researchers and industry we need to include music professionals (specifically manager, event organisers, venue managers) in our research more. They are the experts, advocates and gatekeepers for our sector and we need to reflect their experiences and views in our work.

What tips can help make findings truly accessible to the people who need to hear it?

Work out who the people are and try to find multiple approaches to disseminating information. Different people need different types of information, depending on context. Sometimes less is more. Microlearning can be useful for headlines then direct them to more detail or information.

How do we challenge audiences? Or what does “challenging” audiences really mean? Is there still room for radically new artistic experiences?

Broaden horizons? Build a wall?

What audiences and which direction of challenge? Rep? Venue? Performer? Context? Presentation?

“Radically” - in what context? How far do we go?

New interpretations?

Spectrum of offer: always something or someone that might be considered “radical”.

Without radical? Self-fulfilling prophecy?

How do we ensure these conversations are taken forward and put into action?

Make sure we know why they would be useful. Continue the network and share reports widely. Think about who we are not yet talking to and invite them to the conversation. Listening, learning, looking outwards.

Where do you draw the boundary on the classical music “ecology” for the purpose of researching it?

If you can convince performers, audiences, other researchers, employers and/or funding bodies that it is “classical” or classically adjacent.

For definitions of it/themself it seems to be still out of reach. But for the purpose of this network project, the idea of gathering definitions from our research collaborators/ interlocutors and amassing them in a list would be a great way to start.

A word cloud analysis or even a google text analysis might be an effective way to visualise the definitions held by the general public and the engaged community of professionals - necessarily two different groups with possibly different perspectives.

What is one thing you will change after the symposium?

As I am also working in an arts institution, I will definitely think about ways to combine those two fields even more. I am really keen to read lots of the publications this great group has probably published.

What are the consequences of a richer music ecology? How will we know?

Ecology that doesn’t feel stagnant. Potentially something to do with engagement. Maybe you know when you don’t have one.

Defining Classical Music

Here are the notes from the plenary session on defining classical music at the end of the symposium.