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?

Contemporary music, like other arts, is dealing with the rise of »curators« laying claim to everything from festivals to playlists but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.

Autorentext
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.