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Over the last seven decades, the role of the conductor has evolved in new music ensembles that perform integrated concerts. It was problematized by John Cage; doubled (or split) by Charles Ives, Karlheinz Stockhausen, and Mark Applebaum; manipulated by Thierry De Mey, Simon Steen-Andersen, and Stefan Prins; instrumentalized by Alexander Schubert, Alexander Khubeev, Michael Maierhof, and Pieter Matthynssens; and deployed tactically by Serge Verstockt, Jessie Marino, and Carl Rosman. For these composers and artistic directors and others in their genre, the presence of the conductor is no secondary phenomenon of the music, by an affirmative and active choice to deploy one to meet specific artistic and/or socioeconomic needs. The systematic study of this relatively new and developing situation allowed me to find tools and methods for forming the required piece-specific performance practices with the aim of better functioning as a tactical and curated conductor.

type	research exposition
keywords	New Music, Conducting, roles
date	01/09/2021
last modified	21/04/2022
status	in progress
share status	public
affiliation	University and Royal Conservatoire of Antwerp (ARIA)
copyright	Thomas R. Moore
license	CC BY-NC-ND
language	American English
url	https://www.researchcatalogue.net/view/1274977/1274978

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copyright	Rebecca Diependaele
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copyright	Michael Maierhof
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copyright	Melissa Portaels
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copyright	KlaraFestival
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name	LM.Still002
copyright	Melissa Portaels
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Redefining the Conductor's Role in New Music Ensembles - Doctoral Thesis, University of Antwerp and Royal Conservatoire of Antwerp (ARIA) (last edited: 2022)

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