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.