New Music and Institutional Critique

1. Introduction.- I Scholars.- 2. Institutions Against Art Music-Curation, Rehearsal, and Contemporary Art.- 3. Gender Issues as Criticism within (New) Music Institutions.- 4. Darmstadt and its Discontents.- 5. Epistemological Stagflation and the Crisis of Democracy in Contemporary Music Research.- 6. Black Music's Institutional Critique.- II Artists.- 7. My Via Dolorosa from (Impotent) Institutional Critique to the Founding of my own Institution, the Norwegian Opra, with the Gradual Construction of the followers of ø Opra-Dorf on a Meadow in the Swedish Forest, thereby (Maybe) Saving the Autonomy of Art.- 8. Sheltering Each Other from the Storms to Come. Why we need to become allies rather than critics of liberal cultural institutions.- 9. Gender Relations in New Music is Institutional Critique.- 10. Ark.- 11. On the Kunsthalle for Music and (Music-)Institutional Critique.- III Interviews.- 12. "We started expanding the 'us,' rather than including someone else" - Peter Meanwell and Tine Rude interviewed by Brandon Farnsworth.- 13. "Don't expect the wrong things from institutions." - Berno Odo Polzer interviewed by Christian Grüny.- 14. "Pockets of Obscure Skills" - Samson Young interviewed by Brandon Farnsworth.- 15. "Positioning myself between stools" - Hannes Seidl interviewed by Christian Grüny.- 16. "Framing Europe" - meLê yamomo interviewed by Theresa Beyer.

Christian Grüny is professor of contemporary aesthetics at the University of Music and Performing Arts in Stuttgart.Brandon Farnsworth is a Swiss National Science Foundation postdoctoral fellow at the Division of Musicology, Lund University, Sweden.