SwePub - search: WFRF:(Wellejus Asta)

Enumeration	Reference	Cover	Find
1.	Björgvinsson, Erling, et al. (author) How the lion learned to moonwalk and other stories on how to design for classical music experiences 2014 Reports (other academic/artistic)abstract Live classical music is facing considerable challenges. How can philharmonic orchestras, organizations that are heavily rooted in the past, become more democratic and better connected to the societies they are situated in? Through collaboration across institutional borders and knowledge domains, the Designing Classical Music Experiences project had the ambition to develop new spatial and mediated audience experiences, and to reach new audiences in the Øresund Region. The vision was nothing less than to democratize classical music. One of the premises of the project was to involve musicians, designers, researchers, students, audience members – and many others – in the design- and development processes. Another premise was to enhance and extend the concert experience through visualizations and other types of visual arts. A number of conclusions related to ‘organizational challenges’, ‘audience engagement’, and ‘media and technologies’ are presented and further developed in this book. The first section of the book accounts for two perspectives on how to work with live classical music and audiences from a designer’s point of view. The second section of the book give detailed accounts of the most high-profiled case studies the project has worked with.

Björgvinsson, Erling, et al. (author)
How the lion learned to moonwalk and other stories on how to design for classical music experiences
2014
Reports (other academic/artistic)abstract
- Live classical music is facing considerable challenges. How can philharmonic orchestras, organizations that are heavily rooted in the past, become more democratic and better connected to the societies they are situated in? Through collaboration across institutional borders and knowledge domains, the Designing Classical Music Experiences project had the ambition to develop new spatial and mediated audience experiences, and to reach new audiences in the Øresund Region. The vision was nothing less than to democratize classical music. One of the premises of the project was to involve musicians, designers, researchers, students, audience members – and many others – in the design- and development processes. Another premise was to enhance and extend the concert experience through visualizations and other types of visual arts. A number of conclusions related to ‘organizational challenges’, ‘audience engagement’, and ‘media and technologies’ are presented and further developed in this book. The first section of the book accounts for two perspectives on how to work with live classical music and audiences from a designer’s point of view. The second section of the book give detailed accounts of the most high-profiled case studies the project has worked with.

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