Learnings: Publications and Reports
This page collects publications, reports, and other texts that describe and analyze the work carried out in the Designing Classical Music Experiences project. Also see the Cases & Concepts page for brief summaries of all experiments the project has engaged in.
This book summarizes and analyzes the outcome of the Designing Classical Music Experiences project. In the book, a number of conclusions related to ‘organizational challenges’, ‘audience engagement’, and ‘media and technologies’ are presented in the introductory chapter (view it here). The book continues with two perspectives on how to work with live classical music and audiences from a designer’s point of view, and detailed accounts of the most high-profiled case studies the project has worked with.
This chapter, published in the How the Lion Learned to Moonwalk book, tells a story of the complexities you face when working with audience engagement: How the institutions, the arts, the audiences, the media, and our societies are intertwined in one another, and what this implies. Author: Erling Björgvinsson, Malmö University.
This chapter, published in the How the Lion Learned to Moonwalk book, shares insights about how to work with new and meaningful audience experiences by utilizing technologies and visual arts. Authors: Arthur M. Steijn and Jakob I. Wille, the Royal Danish Academy of Fine Arts, School of Design.
The Teddy in Space experiment looked into how children – through a symphonic sequencer – could ’recompose’ one of the pieces played at a Malmö Symphony Orchestra family concert. Authors: Marie Ehrndal and Erling Björgvinsson, Malmö University.
The Shadow Play production explored how children can be involved in co-creating a scenography by adding ’shadow figures’ after having listened to classical music. The ’shadows’ are then used in a video-projected scenography at a Royal Danish Theatre family concert. Author: Erling Björgvinsson, Malmö University.
Joystick investigated how a game-music concert format – run by Malmö Symphony Orchestra – can work closer to a gaming community on planning, communicating, and running the event. Authors: Erling Björgvinsson, Marie Erhndal, Richard Topgaard, and Eva Wendelboe Kuczynski, Malmö University.
This book presents the outcome of the projects and concepts that were developed and executed in collaboration between the School of Design, Malmö University, students, and participating orchestras during spring 2013. Editors: Arthur M. Steijn and Jakob I. Wille.
In this book chapter, published in the School of Design book Classical Music & Experience Design (see above) it is argued that the term ‘audience engagement’ suggests that cultural institutions need to move away from thinking in terms of educating the audience towards building relationships where mutual learning occurs. Author: Erling Björgvinsson, Malmö University.
This report describes the obstacles that people working in the cultural sector face when they live and work in two countries. Suggestions how this may be remedied are presented. Author: Anette Vedel Carlsen, the Oresund Commitee.
REPORT | Strategies for New Value Models
This report looks into new value models within the Designing Classical Music Experiences project. This includes describing how the involved organizations create, capture and deliver cultural, social and economic value within the projects developed. Author: Peter Løvschall, Malmö University.
BOOK CHAPTER | Classical Music, Liveness and Digital Technologies
Book chapter that explores the relationship between the mediatized and the live format in order to use digital technologies to enrich and develop the live performance. Author: Arthur M. Steijn, School of Design. Published in Event Design: Social Perspectives and Practices, edited by Greg Richards, Lénia Marques, and Karen Mein, 137-160. New York & London: Routledge.
RESEARCH PAPER | A Live-Time Relation: Motion Graphics meets Classical Music
The conference paper shows how various design elements and components – line and shape, tone and colour, time and timing, rhythm and movement – interact with conceptualizations of space, liveness, and atmosphere. Author: Arthur M. Steijn, School of Design. Paper presented at the Performance: Visual Aspects of Performance Practice conference, Prague, Czech Republic, November 7-9.
Why do large-scale interaction designs for stage and audience tend to fail? And how may ‘mass interaction’ support the concert experience in a way that makes the interactivity become a dialogue between artistic intention and audience experience? This master’s thesis by interaction design master students Maja Fagerberg Ranten and Halfdan Hauch Jensen analyzes a design in which these issues are addressed.
This report describes ideas and concepts generated at a workshop carried out within the project in 2013. The aim was to create classical music experiences where members of the audience are involved through means of digital media. Five themes were addressed: How to make concerts more interactive; how to bring classical music to public spaces; how the stage can be used differently; how to create new relationships with the audience; and the 5th dimension: What does the future hold?
The Designing Classical Music Experiences project ran a so-called module at the Arts & Audiences 2014 conference. The module, ‘Expanding the Stage in a Post-Digital World’, was based on learnings from the project.
How do you make the whole organization involved in working with audience engagement? And why are small-scale experiments valuable? These were two of the questions that Erling Björgvinsson adressed in his keynote for the Arts & Audiences conference in Helsinki, August, 2013.