Possible innovations in concert formats of classical music

Abstract

In the nineteenth century a conception of music emerged that in part continues to signify the meaning practices of some current musical performance (Kingsbury, 1988). The fine arts concept of art as an object created by human beings for the rejoicing of individuals, something to be contemplated, as opposed to the minor arts called decorative because they produced objects to be used. This ontology of the sublime in art and music as an idea dissociates the latter from other meaning sources. Music will be the contemplation object: hence the idea of the museum as a creation of the Illuminist thought of gathering art as an object. This perspective includes the concert hall as the place for the music to be contemplated who will define the concert situation with the format that is reproduced nowadays. We consider that traditional concert forms require renewal, so as to stimulate the musicians and regain impact in the audience, which has decreased quantitatively, lacking a generational renewal (Sloboda, 2017).