We are pleased to invite you to the conference Audience Development within Classical Music: Bringing Classical Concert back into the spotlight. The conference is organized by the Kolarac Endowment and the Swedish cultural agency “Orfeus”, and it will take place on 27th and 28th of May, at the Small hall of Kolarac Endowment.
The conference deals with current classical music: its listening, actuality, promotion, lack of audience at concerts and the age of its audience. Is the number of fans of classical music decreasing, or are they only less interested in visiting classical concerts? How to adapt to the different needs of different audiences? What would be the good ways to popularize classical music with different audiences? How to develop the cooperation of institutions in order to develop the audience?
The language of the conference is English.
On the second day of the conference, from 9:00 to 11:00, a workshop Be your own manager, aimed for pupils of secondary school and students who are studying for performers and PR activities will take place. It will be guided by Swedish composer and activist Martin Larsson.
Domain: Classical music: audience development
When: 27-28 May 2019
Place: The Ilija M. Kolarac Endowment, Little Hall,
Partners: Culture Project Agency Orpheus, The Ilija M. Kolarac Endowment
Conference format: lectures,presentations, panel discussions with audience
Target group: musicians, music students, music managers, PR agents, musical
activists and cultural workers from this domain, journalists
Sponsors: Association of Swedish Composers , Swedish Embassy in Belgrade, TetraPak, University of Sheffield UK
Registration for the conference and workshop: email@example.com
The conference is realized with the support of the Ministry of Culture and Information of Serbia, the Swedish Embassy in Belgrade, the University of Sheffield from Great Britain and TetraPak.
Monday 27.05. 2019.
Jasna Dimitrijević, TheKolarac Endowment
Milica Lundin, cultural project agency Orfeus, Sweden|
Subject 1: Repertoire
The “issues” with classical repertoire: Do professional lists of
obligatory repertoire alienate the listeners? What are the reasons for narrow
repertoires on the classical stage: conventions, commercialism within
management for classical music, lack of flexibility of the classical audience
or other? How big is an impact of commercialism on classical music? Is
classical music event the only one in crisis or is classical music suffering
Martin Q Larsson,
New Music Incubator, Sweden, dr.Draško Adžić, Faculty of Music, Belgrade
Sonja Lončar/ Andrija Pavlović, LP Duo|
Subject 2: Exchange and cooperation
theory and practice: What can a classical stage manager learn from other
stage art form colleagues? How can research, statistics and experiment help
to understand the complexity of stage art management and improve it? What are
the most beneficial ways of collaboration and exchange between civil society
organizations, research centers, and educational institutions in this field?
How do we empower solidarity and partnership between professionals within the
Djurdja Papazoglu, El Sistema Serbia
prof. dr.Milena Dragićević-Šešić, UNESCO Cathedra for
Cultural Policy and Management, Belgrade
Mirjana Lazarevic, The
Kolarac Endowment /Music Center;
Maglov Institute of Musicology
Snežana Andrić, The Young Ambassadors of Niš
Vladimir Djordjević, The Multicultivator, Belgrade|
Be your own manager
How to know your audience
Preliminary registration required
Martin Q Larsson|
Subject 3: Audience
Research on participation: Does classical concert need new audience
at all? If YES, then: what kind? Does classical music really need “every”
audience? Is audiences’ age the main problem that classical halls are dealing
with? Would some new, untraditional audiences alienate the existing,
traditionalistic one? Should there be different kinds of classical concerts
for different audiences?
consultant, Audience Agency UK
Sarah Price, researcher SPARC, UK
prof. Predrag Cvetičanin, Faculty of Niš, UNESCO Cathedra for Cultural Policy and
Subject 4: Animation techniques
Which are the most successful techniques of revival of classical
concert? How do we get performers to break the silence at the classical
stage? Which amount of interactivity on classical stage is not considered a
disturbance? Is the formal character of classical concert a necessity, an
imposed tradition, stereotype or a greatest obstacle in modernization of this
art form? How do we make classic hall “rules of conduct” more friendly?
Fotev, UNESCO Catedra
for Cultural Policy and Management, Belgrade
Dimitrijević, TheKolarac Endowment/Savet Mladih;
Milašinović Belgrade Philharmonics
Muzikon /City Guerilla
Conference conclusions and recommendations||
Dragana Kostica is the Belgrade-based editor in chief and founder of Still in Belgrade art, culture and club scene magazine. She holds a Master of Arts in Cultural Policy and Management in Arts (MA of Arts) and a Bachelor degree in Archaeology.