Sage Journals: Discover world-class research

Abstract

The classical concert has been in crisis for decades, characterised by falling audience numbers, an aging audience and a loss of social relevance. An innovative approach to overcoming these symptoms of crisis are interdisciplinary concert formats that combine music with scientific or socio-political discourse. This article analyses the potential of such formats both in terms of their impact on the concert industry and their significance for social exchange. Key findings are presented on the basis of guideline-based expert interviews with organisers of such concert formats: Interdisciplinary formats lower access barriers, open up new audience groups and can embed classical music in a broader social context. At the same time, their implementation requires specific resources as well as a high level of creative and organisational commitment on the part of the organisers. The sustainable development and establishment of such innovative formats in the concert business requires, in particular, the provision of resources, enabling organisational structures and interdisciplinary awareness-raising among artists and music managers (already in educational contexts).

Keywords

Concert studies concert crisis innovative concert formats interdisciplinary concerts

Introduction: Crisis management through new interdisciplinary formats?

The classical concert is in crisis. This has long been a widespread diagnosis in concert research and feature articles, which is also supported by recent population surveys (Allmanritter and Tewes-Schünzel, 2023; Liz Mohn Centre, 2025; Tröndle, 2018). The main symptoms described include declining visitor numbers, an aging audience and a general loss of social relevance (Tröndle, 2011). The classical music industry has long been reacting to these changes with audience development measures, music education efforts and marketing (Gembris and Menze, 2020; Müller-Brozović, 2023; Rizkallah, 2009). However, since key figures, in particular, the figures from streaming providers such as Spotify and Apple Music, indicate that interest in classical music has not declined per se (Deutsches Musikinformationszentrum, 2024), concert research argues that the crisis of the classical concert is a crisis of the format (Tröndle, 2011) and that the ritualised concert business as a whole is in considerable need of reform (Theede, 2007). This is also supported by Wald-Fuhrmann et al. (2021), who argue that the traditional concert format – with its strong emphasis on formal listening norms, behavioural restrictions and spatial conventions – no longer meets the expectations and experiential needs of a large part of today's audience. According to their theoretical model, the concert is not just a musical event, but a complex aesthetic and social frame that strongly influences how music is perceived and evaluated. As such, any innovation in concert design must take these framing conditions seriously in order to remain culturally resonant (Wald-Fuhrmann et al., 2021).

The growing range of concert formats that rethink the components of the classical concert – such as the musical repertoire (i.e. the concert programme), concert setting and audience participation – indicates that concert organisers are already making efforts to innovate formats. One approach that currently stands out from the repertoires of professional orchestras in this respect is the attempt to combine the classical concert as an art form with academic and/or socio-political education and discourse. These are therefore special interdisciplinary concert formats, the novelty of which has already been the subject of recent concert research (e.g. Schmidt, 2023). The aim of this article is to specifically supplement the previous examination of such formats by investigating their potential for overcoming the concert crisis mentioned above. In doing so, the research interest extends beyond the narrower concert business (and its crisis) and also includes the potential for social exchange that these formats are obviously striving for.

To address the research questions, a theoretical framework is developed that outlines the symptoms of the concert crisis and conceptual responses to it. Based on this, interdisciplinary concert formats with scientific and socio-political themes are examined as a specific innovation strategy. To investigate this empirically, a qualitative research design was employed. Expert interviews with managers responsible for the development and implementation of concert formats at German orchestras served as the primary method of data collection. The resulting transcripts were analysed using qualitative content analysis. The results emphasise the potential of interdisciplinary concert formats in crisis management and social dialogue and explore the motivations and challenges involved. Building on the empirical findings and theoretical considerations, the article concludes by outlining the implications for further research and identifying potential starting points.

Literature review: The classical concert format – symptoms of crisis and approaches to innovation

The development of the classical concert is a process of increasing autonomisation of music (Tröndle, 2011). According to Allen (1962), the classical concert emerged in the context of profound social and ideological changes that had taken place since the 17th century. Originally, classical music was primarily embedded in religious or courtly contexts and served specific social functions (Kalbhenn, 2011). It was only with the rise of the bourgeois public sphere in the 18th century that a new conception of classical music as an autonomous art form began to take shape (Curtin and Whittaker, 2022). The classical concert became an institutionalised practice in which music was increasingly seen not as a servant art but as an expression of individual genius and cultural education (Allen, 1962). This development reflected certain philosophical and aesthetic ideals that were closely linked to a Eurocentric and elitist understandings of music and culture (Accominotti et al., 2018; Behrens, 2020). Since the 19th century, the professional concert business has been shaped by commercialisation, social exclusivity and standardisation (Harbour, 2020). This conservatism has contributed to what is often called the ‘crisis of the classical concert’ (Fein, 2011), explored in the next section.

Symptoms of crisis in the classical concert

The crisis of the classical concert is not a recent phenomenon. Kalbhenn (2011) identifies a renewed intensification of this crisis from the 1990s onward. Research in this area suggests that the phenomenon takes various forms and has different causes. Some of the most important aspects outlined in the literature are described below.

Audience decline and demographic shifts

The shrinking and aging audience base is one of the most visible symptoms and is a crucial indicator of the systemic health of the concert (Kalbhenn, 2011; Tröndle, 2018). Empirical studies over the past three decades consistently document a decline in attendance at classical concerts, opera and ballet (Keuchel, 2005; Kolb, 2001; Schwanse, 2020; Sloboda, 2013). Marín (2018) interprets this as a critical signal of the genre's structural instability. Comparable patterns are observed internationally (Marín, 2018; Pompe et al., 2013). The COVID-19 pandemic has further intensified this development. As documented by Pompe and Tamburri (2022), orchestras faced unprecedented drops in attendance due to cancelled performances and prolonged venue closures. Similarly, Renz and Almannritter (2022) describe a sharp audience withdrawal during and after the pandemic and warns of long-term behavioural shifts, especially among younger and less frequent visitors.

Recent empirical studies also highlight the importance of audience segmentation in understanding and addressing this crisis (Tröndle et al., 2025). In this context, Pitts and Price (2020) emphasise, that audience engagement with contemporary arts is highly varied and influenced by socio-cultural contexts, prior exposure to the arts and openness to experimentation. Their study shows that new audiences often seek emotional, social and intellectual resonance, which traditional classical formats rarely provide in their current form.

Demographic analyses further confirm the dominance of older audiences. Neuhoff (2007) found that the majority of Berlin concertgoers were aged 60–69, while younger cohorts were significantly underrepresented. Data from the German Federal Association of the Event Industry (BDV, 2017) indicate that over half of concertgoers were above 60. Kolb (2000), Glynn (2002), and Pompe and Tamburri (2016) similarly describe this demographic imbalance.

Dearn and Pitts (2017) further show that young adult listeners often perceive classical concert etiquette and settings as alienating. Their study reveals that young people's prior engagement with popular music shapes expectations around emotional accessibility, social context and behaviour at concerts, often clashing with classical conventions.

Similarly, Avraam (2018) argues that the underrepresentation of young audiences is tied to the lack of visual and technological integration in classical concerts.

Economic challenges and financial vulnerability

Declining audience numbers, along with structural rigidities, significantly contribute to the financial instability of classical music institutions. Heinen (2013) emphasises that orchestras constitute one of the most cost-intensive components of public cultural budgets. As audience figures drop, both earned income and the perceived legitimacy of continued public funding erode. Gembris (2009) describes this dynamic as a ‘scissor effect’, in which an increasing number of concerts faces a decreasing number of attendees. Feiertag (2009) and Pompe and Tamburri (2016) highlight that, unlike in industrial sectors, rising labour costs in the cultural sector cannot be offset through gains in productivity.

Rigid labour structures and repertoire conservatism further exacerbate financial vulnerabilities in classical institutions (Rebelo and Rebelo, 2025). Pricing in the performing arts is influenced not only by cost structures but also by perceived prestige, cultural value and audience segmentation (Estelami et al., 2019). Kalbhenn (2011) further notes that bridging these financial gaps increasingly requires hybrid funding models that combine public subsidies with private sponsorships. The ongoing financial strain compels arts organisations to reassess traditional business models in response to diminishing public support and shifting audience behaviours (Bakhshi and Throsby, 2010). Various approaches to overcoming these economic challenges are discussed in practice and in the research literature.

Repertoire rigidity and canonical constraints

A further symptom lies in the inflexibility of the classical concert repertoire. Marín (2018) identifies a persistent focus on around 30 canonical composers active between the late 18th and early 20th centuries. The canonisation of the classical repertoire emerged in the 19th century as a product of institutionalised aesthetic hierarchies shaped by ideology and class (Price, 2020). It reflects not an objective musical value, but enduring structures of cultural power (Weber, 1999).

Kellersmann (2018) criticises the static nature of concert life, likening it to a museum culture that resists renewal. Kalbhenn (2011) similarly argues that broader and more inclusive programming would help revitalise the classical concert's societal role and ensure its relevance for a more diverse public. In support of this view, Wald-Fuhrmann et al. (2021) note that the classical concert format is defined by a rigid aesthetic frame that emphasises reverent listening and canonical works, often excluding experiential diversity and participatory potential. Price (2020) further reinforces these observations with audience research showing a marked preference among concertgoers for familiar repertoire – suggesting that audience conservatism is a significant structural barrier to diversifying programmes.

Declining social and cultural relevance

The social standing of classical music is eroding in a diversifying society. In this context, Schwanse (2020) direct their attention to the next generation of potential audiences, observing a decline in primary education and children's openness to classical music, even within academic households. Reuband (2011, 2019) interprets this shift as part of a broader transformation of cultural participation, where classical music has lost its centrality. Martí and Collins (2024) goes further by arguing that formal or historical status alone no longer guarantees musical relevance: only when music is embedded in everyday social life does it maintain significance. He criticises approaches that evaluate music based on heritage or formal criteria and instead calls for attention to music's practical, affective and social functions. In this view, the weakening resonance of classical music reflects not a decline in artistic value, but a loss of social anchoring within the practices and lifeworlds of broader audiences (Martí and Collins, 2024).

Recent empirical data from the 2025 Relevanzmonitor Kultur reinforce these observations and highlight the growing discrepancy between cultural offerings and lived reality.

The current state of the classical concert reflects a complex interplay of aesthetic, structural, economic and cultural challenges. The crisis cannot be reduced to a single dimension but involves interconnected developments: demographic shifts, financial vulnerability, programming stagnation and declining social relevance. These factors reinforce one another in a mutually constitutive dynamic (cf. Feiertag, 2009; Kalbhenn, 2011). In this article, the term ‘crisis of the classical concert’ refers to this systemic phenomenon, encompassing all discussed aspects.

Response strategies in the classical concert business

The majority of cultural and music institutions have now recognised the need to engage with dwindling audiences and to take greater account of their needs in the design of their offerings (Bekmeier-Feuerhahn and Ober-Heilig, 2011). A central area of action is that of music education (Müller-Brozović, 2023).

In order to attract new and more visitors to classical concerts, the concert industry is also increasingly focussing on audience development activities (Gembris and Menze, 2020; Wimmer, 2020). Audience development is a concept that encompasses and permeates the entire institution and is centred around potential audiences for cultural events (Pitts and Price, 2021; Siebenhaar, 2009; Sigurjonsson, 2010). In practice and in the literature, a distinction can be made between approaches that are primarily marketing-oriented and/or audience-centred, and approaches that are institution-based (Holm, 2009; Tröndle, 2018). The latter are based on the assumption that the classical concert itself is the cause of (negative) audience development. Central to this view is criticism of the anachronism of the outdated classical concert: the form and conventions of the concert have changed little since the 19th century, unlike the life of the audience. Cohen (2022) supports this perspective by demonstrating that rigid aesthetic norms and formal settings in traditional concerts often hinder emotional connection and social engagement, particularly among younger and more diverse audiences. Her findings suggest that participatory, informally staged, and visually enriched formats are more effective in fostering long-term audience identification (Cohen, 2022).

Concepts for a new level of concert experience

Markus Fein (2011) identifies five overarching motivational approaches for the development and growing importance of new, innovative concert formats:

Music mediation approach: music can be better communicated to the audience through more intensive contextualisation or staging.

Marketing approach: a new and possibly younger audience can be reached through more targeted marketing.

Financial approach: innovative programming and concepts can increase the chances of funding.

Media attention approach: unique and novel concert formats can increase media attention.

Social connection approach: Within the framework of innovative concepts, points of contact with contemporary social issues can be identified, opening up new ways for cultural programming to engage with diverse audiences.

These approaches will be used in the further course of our analysis to explore the motivations behind selected innovative formats. Before this, however, an important initial observation from concert research should be examined in more detail. According to Fein (2011), the main cause of the crisis tendencies in the classical concert lies in its failure to adapt to the changed reception conditions of the 21st century. If, as already mentioned, it is first and foremost a crisis of the format, so-called alternative or innovative concert formats are increasingly being developed in the concert business alongside the standard classical concert (Walter, 2018). They are based on different concepts, but they all have one thing in common: they break with the rituals of the traditional concert. (Canisius and Tröndle, 2011) – for example through novel stagings of the content (Wimmer, 2021) and/or the re-contextualisation of the music (Gembris, 2009). Specific examples include concerts with unpredictable and/or challenging programmes (Roose, 2008; Sloboda, 2013; Whitaker and Philliber, 2003). Keith (2022) highlights the role of concert curation and thematic design as tools for increasing engagement. His analysis of curated performances shows that innovative spatial arrangements, visual integration and clear dramaturgical concepts significantly increase the accessibility and memorability of concerts for new audiences. The use of new information technologies (Dobson, 2010) and/or visual components (lighting, video projections, etc.) (Brown and Ratzkin, 2013) is another way of creating a new concert experience. Baratè et al. (2019) highlight the educational potential of technologically enriched concerts, arguing that such formats offer new forms of engagement and learning, especially for younger, digitally fluent generations.

According to Kellersmann (2018), one of the most common conceptual adjustments is to vary the venue. A further and particularly relevant dimension of innovation lies in rethinking the audience experience itself. Burland and Pitts (2016) show that listeners do not only come to concerts to hear music but also bring social expectations, behavioural uncertainties and emotional needs that are shaped by the concert setting. Their research demonstrates that audience engagement is strongly influenced by factors such as rituals, venue architecture, social codes and even expectations around silence and applause. Reconfiguring these parameters can meaningfully enhance accessibility and identification for more diverse audience groups. In a similar spirit, Hambersin (2017) advocates for a reinvention of the classical concert through participatory, cross-genre and technologically enriched formats. Greckel (2021) highlights the growing audience expectation for visual stimuli during concerts, particularly among younger listeners habituated to multimedia experiences.

Focus on interdisciplinary concepts

Formats that integrate spoken word elements (e.g. lectures, interviews) aim to add thematic depth and narrative structure (Aviñoa, 2016; Greckel, 2021; Huo, 2022). Walter (2018) argues that such contextualisation enhances the overall quality of experience by reconnecting ‘absolutised music’ with a synaesthetic and performative framework.

Scholarly discourse has increasingly recognised the rise of cross-disciplinary productions in the classical music sector (Gotham, 2014; Keuchel, 2022), especially as a response to changing audience expectations. Recent audience research by Tröndle et al. (2025) identifies four concertgoer types with distinct motivations, ranging from musical immersion to social engagement, which interdisciplinary formats are particularly suited to address through their hybrid character.

Supporting this, Swarbrick et al. (2024) demonstrate that deep musical absorption in live concerts correlates with focused attention, emotional resonance and embodied stillness. Interdisciplinary formats, by diversifying sensory and cognitive entry points, can thus strengthen immersive and meaningful engagement.

Pitts and Price (2020) likewise show that audience engagement with contemporary and hybrid formats is shaped by curiosity, emotional openness and social context. Moreover, when linked with broader themes – such as social justice or sustainability – interdisciplinary concerts can contribute to cultural participation and relevance (Brown and Ratzkin, 2013; Ramnarine, 2011; Whitaker and Philliber, 2003). This is further supported by Franklin (2023), who illustrates how music functions as both a medium and mirror of sociopolitical conflict, activism and globalised cultural diplomacy. Such formats do not simply reflect political realities – they help shape them.

Specification of the research interest

Due to the lack of empirical studies on interdisciplinary concert formats, this article focuses on their potential to address the crisis of classical concerts. It connects current crisis discourse with emerging formats that engage socio-political and/or scientific themes. The overarching research question is: What potential do interdisciplinary concert formats that integrate scientific and/or socio-political topics have to counteract the symptoms of crisis in the classical concert?

As already explained, innovative concert formats can be organised in different ways and vary all the parameters (content, reception situation, setting) that make up a concert. Accordingly, the first sub-research question is: To what extent are interdisciplinary concert formats that integrate scientific and/or socio-political themes innovative formats?

Beyond format characteristics, the study examines the motives and goals of interdisciplinary concert formats. It questions whether the crisis of the classical concert is the main driver and explores further motivations suggested in the literature (Fein, 2011). The second sub-research question is: What motives and purposes do event organisers pursue when creating and implementing interdisciplinary concert formats that integrate scientific and/or socio-political topics?

Finally, in order to be able to assess the reform potential and sustainability of the formats as comprehensively as possible, the challenges faced by event organisers in the conception and implementation of interdisciplinary formats should also be explored – especially in comparison to traditional concerts. The third sub-research question is therefore: What challenges do event organisers face when creating and implementing interdisciplinary concert formats that integrate scientific and/or socio-political topics?

Research design

The need for further research on the article's central question calls for an open, exploratory design using qualitative methods. Given that the last two sub-questions focus on human experience and action, expert interviews with organisers of interdisciplinary formats are appropriate. Their insights are best accessed through guided interviews (e.g. Gläser and Laudel, 2010).

The survey instruments (interview guidelines) were developed along the following four research dimensions, which were derived from the preliminary theoretical considerations. The focus of interest is on various interdisciplinary concert formats, which are to be analysed comparatively with regard to the following considerations.

Dimension 1 – Conception and innovation value: In this dimension, the conceptual and programmatic links between musical and non-musical content are examined. There is a specific interest in how the respective scientific and/or socio-political themes are realised musically in the individual formats and to what extent they provide a contextual framework for the event. In addition, this dimension asks how the concert setting and the reception situation differ from an ordinary classical music concert and how these differences (should) affect the audience's concert experience in innovative ways.

Dimension 2 – Motives and goals of the organisers: The second dimension focuses on the individual motives of the organisers of the concert formats. In addition, the experts are asked to assess the entrepreneurial motives and objectives (short and long term) of the respective concert hall for the realisation of the respective formats.

Dimension 3 – Challenges in creation and realisation: The third dimension asks to what extent the creation and realisation of interdisciplinary formats differ from ordinary concerts and what challenges arise in the process.

Dimension 4 – Potential for crisis management: The questions in this dimension focus on whether and how the respective interdisciplinary formats counteract the crisis tendencies of the classical concert. The focus here is on the potential for overcoming three specific symptoms of crisis: declining audiences, an aging demographic and a decline in social and cultural relevance.

To ensure the questions were open and effectively implemented from a methodological standpoint, the interview guide was piloted and subsequently revised. This iterative process enabled us to assess the clarity and openness of the questions, refining them where necessary to ensure they aligned with the exploratory aims of the study.

Sample description

The study focuses on Germany due to practical reasons (language, access) and the unique features of its concert scene, including a dense orchestral network and strong public funding. To ensure a coherent analytical focus, the sample is limited to professional orchestras as the classical concert crisis primarily concerns the professional sector. Some relevant formats were performed by chamber ensembles formed within professional orchestras. These groups, embedded structurally and artistically in their parent orchestras, extend their programming and allow analysis of innovative formats in smaller settings. The sample includes the 2023/2024 season to capture current trends, though this limits cross-season comparisons. The selected formats reflect present tendencies rather than long-term developments and were chosen to maximise content diversity. The recruitment of interview partners focussed on people who were involved in the creation and implementation of relevant concert formats in a (main) responsible position.

Dramaturge 1 (DR1) & Dramaturge 2 (DR 2); Staatskapelle Berlin: Sustainable listening

Sustainable Listening is a concert format by the Staatskapelle Berlin that explores the topic of ecological sustainability. Musicians from the Staatskapelle, live electronics by the Gebrüder Teichmann and keynote speeches are brought together in the concert performance to create a spatial experience.

Concert programmer 1 (CP1); Deutsches Sinfonieorchester: Music and crime

The event series Music and Crime (Germ.: Musik und Verbrechen), initiated by the Deutsches Symphonie-Orchester (DSO) and the DIE ZEIT publishing group, combines crime stories with classical music. Accompanied by chamber music ensembles of the DSO, the known journalists Sabine Rückert and Andreas Sentker present stories from the world of classical music.

Dramaturge 3 (DR3); Philharmonisches Orchester Regensburg: Sound of time

Sound of Time (Germ.: Klang der Zeit) is an interdisciplinary concert format as part of the opening of the Regensburg Centre for Ultrafast Nanoscopy. The concert combines musical works with live experiments and moderations to shed light on philosophical and scientific questions about the nature of time.

Artistic director 1 (AD1); Staatsoperette Dresden: Green-box chamber concerts

Four times a season, musicians perform classical and modern chamber music in changing line-ups, which is complemented by scientific lectures and discussions on selected sustainability topics. The Green-Box Chamber Concerts not only serve as an artistic exploration of environmental issues but also as a fundraiser for sustainable projects.

Dramaturge 4 (DR4); Sinfonieorchester Aachen: Einsteins musicbox

Einsteins Musicbox is a collaborative concert between RWTH Aachen University and Theatre Aachen. Through interviews with guests from various scientific disciplines, the format explores the connection between music and science in an interdisciplinary programme.

Dramaturge 5 (DR5); Düsseldorfer Symphoniker: Green Monday

In the 2023/24 season, the subscription format Green Monday included eleven symphony concerts dedicated to different aspects of environmental protection. Each concert was preceded by a ‘Green Star Talk’, in which the climate ambassador and violinist (Dramaturg 5) discussed the evening's theme with experts. In addition to the talks, musical reflection was also a focal point of the event.

Data collection and analysis

The seven expert interviews were conducted between 6 and 14 June 2024. Transcripts were analysed using Mayring and Fenzl's (2022) content analysis, combining deductive categories from the literature and interview guide with inductively developed subcategories. Coding by a single researcher ensured consistency and allowed unanticipated insights to be integrated. This iterative approach balanced structure with analytical openness.

Results

The presentation of the results follows the structure of the survey according to the four dimensions: (1) Conception and innovation value, (2) Motives and objectives of the organisers, (3) Challenges in creation and implementation, (4) Potential for crisis management.

Conception and innovation value

The interdisciplinary concert formats examined all differ from traditional concert formats in terms of their approach to programming, the concert setting and the reception situation for the audience. In relation to the first sub-research question – how these formats can be assessed as innovative – a more nuanced picture emerges when distinguishing between different types of innovation. The analysis focuses on how and where innovations occur, and what effects they have.

All formats show innovative features to varying extents, particularly where they expand the traditional concert experience by integrating extra-musical elements and interdisciplinary components. This is evident, for instance, in the incorporation of lectures, presentations, or expert interviews from fields such as science, politics, or environmental activism, either before or during the musical performances.

In the three analytical categories – concert programme, concert setting and reception situation – the degree and nature of innovation vary between formats. Some formats show thematic innovation in programming by explicitly linking music with contemporary discourses, while others experiment with spatial and participatory structures. For example, the Sustainable Listening format introduces a mobile, ecologically themed venue – a so-called ‘climate capsule’ – which challenges the conventional concert hall setting. However, the broader implications of such spatial innovation, including its scalability, its effect on audience perception and its resonance with institutional goals, require further empirical exploration.

In contrast, Sound of Time retains a more conventional spatial and acoustic context but is innovative in terms of dramaturgy and co-creative content development. The format exemplifies what may be described as processual or collaborative innovation: external partners are involved from the outset in conceptualising thematic content, resulting in a more integrative and dialogic format. As dramaturge 3 describes:

It's about really finding synergies between topics and research areas […] and developing new horizons […]. And that, I think, is the innovative thing that has rarely existed in this form […] so far, because the concert formats that are interdisciplinary are usually not developed together in such a profound way, but rather in such a way that someone plays a concert and a scientist comes as a guest who gives a lecture on their topic. (DR3, own translation)

This quote reflects a recurring theme in the interviews: that innovation in interdisciplinary formats lies less in the inclusion of non-musical content and more in the structural integration of collaborative development processes.

The Green Box Chamber Concerts introduce participatory audience elements, such as moderated discussions, which alter the reception situation and open space for dialogic reflection. Here, the innovation is experiential: the audience is not only addressed as passive listeners but actively engaged as reflective participants.

However, as the interviewed artistic director noted, the implementation of participation is carefully curated:

But then the dramaturgy also made sure that it didn't get out of hand, these participatory concerts. People don't expect that. Many don't like that either. In other words, there's a lot of performance at the Green Box chamber concert, but many people assume that you take on a purely passive role and for many that's annoying. (AD, 1)

This remark highlights a recurring tension in audience-oriented innovation: while participatory elements may enrich the concert experience for some, they can simultaneously unsettle others who expect a more traditional, passive form of engagement. The Green Box format thus reflects an important balancing act between innovation and audience expectation, raising broader questions about how far institutions can or should go in reconfiguring the listener's role.

The Green Monday concert series is particularly notable for its structural and programmatic integration of sustainability: it embeds ecological themes within an existing subscription framework, allowing for thematic continuity across a season rather than isolated interventions. Musically, this is achieved through commissioned works; programmatically through panels, lectures and activities such as waste separation and vegan catering.

As one of the interviewed dramaturges put it, ‘The interesting thing is that the concert is part of a subscription series. The climate concerts are often used as something separate. There is then one climate concert a year and that is the orchestra's sustainability message’ (DR5). This perspective underscores the distinctiveness of the Green Monday approach – not simply by foregrounding sustainability thematically, but by normalising it within the routine structures of concert planning and audience engagement.

Yet the reception of this format across different audience segments – for example, whether long-standing subscribers engage meaningfully with the content or simply attend out of routine – remains an open empirical question. The organisers did not collect any systematic data on audience response or long-term impact, which limits the ability to assess the format's broader transformative potential.

The study's results show that changes in programme design, setting and reception can lead to diverse forms of innovation. These reflect intentional artistic, institutional and audience-related choices. Key benefits include broader participation incentives, lower access barriers and greater audience involvement.

Motives and goals of the organisers

With regard to the second sub-research question – what motives and goals the organisers pursue with interdisciplinary concert formats – the interviews reveal a broad and multifaceted spectrum. These motives range from individual artistic aspirations to institutional mandates and sociopolitical ambitions. However, rather than operating in harmony, these goals sometimes exist in tension or reflect shifting priorities depending on context.

On a personal level, many organisers describe being motivated by the desire for creative freedom and experimentation. Dramaturge 4, for instance, speaks of the opportunity to design the Einstein's Musicbox format ‘without great expectations’. As they clarify, this refers not to a lack of quality standards, but to the absence of rigid programme conventions: in contrast to traditional symphonic programming, these formats offer ‘a space to try something out’ (DR4, own translation). This framing suggests a lower-stakes environment that fosters innovation – but it also raises questions about how such spaces coexist within institutions that simultaneously face high demands for accountability, public visibility and relevance.

In addition, interviewees repeatedly emphasise the personal and intellectual enrichment gained through dialogue with other disciplines. This interdisciplinary engagement is seen as expanding not only the organisers’ own perspectives but also the interpretive horizons of audiences – offering a more layered, context-rich experience.

From a music education perspective, several interviewees highlight the potential of such formats to enable more holistic learning experiences. The interdisciplinary approach is valued for its capacity to address both musical and extra-musical themes, thereby appealing to broader learning objectives. Dramaturge 5 (Green Monday) describes this as an extension of her cultural responsibility: ‘I do culture. That means I share responsibility for the cultural education of society’ (own translation). This statement points to an understanding of cultural work as a form of social pedagogy, not merely as artistic presentation.

At the same time, political and social relevance are identified as important motivators. Concert Programmer 1 (Music and Crime) and Dramaturge 2 (Sustainable Listening) both see interdisciplinary formats as a way to connect classical music with urgent societal debates.

In my opinion, social trends or socio-political developments or topics also need to be addressed—in the democracy […] in which we live and in which we also operate as an orchestra. And that quickly raises the question of relevance for an orchestra or a publicly funded orchestra. (Progr1, own translation)

While many interviewees invoke the idea of social relevance, the term remains underdefined. Who determines what is socially relevant, and by what criteria? Is it measured in audience reach, thematic resonance or institutional alignment with funding priorities? These questions highlight a need for more conceptual clarity when discussing the public role of classical music institutions.

Moreover, the tension between individual creativity and institutional responsibility becomes particularly apparent when comparing statements like those of Dramaturge 4 (Einsteins Musicbox) – who speaks of aesthetic freedom – with those of Artistic Director 1 (Green-Box Chamber Concerts) and Dramaturge 2 (Sustainable Listening), who ascribes a normative obligation to institutions to reflect sociopolitical themes. This juxtaposition reveals a key dilemma: are interdisciplinary formats driven primarily by artistic curiosity or by the need to demonstrate cultural legitimacy in response to external pressures?

Economic motives also play a role. Several organisers, such as Dramaturge 5 and Dramaturge 4, recognise that interdisciplinary or themed formats can serve as tools for audience development, particularly in attracting younger demographics. As Artistic Director 1 puts it:

And in the long term, or even at the moment, the hope is of course that this will attract attention from perhaps other target groups, from younger people, who will then also come to the normal performances. (AD1, own translation)

This instrumental logic reflects common strategies in cultural marketing but tends to assume a direct link between innovation and appeal – an assumption that overlooks the complex processes of taste formation, cultural accessibility and long-term audience loyalty.

Concert Programmer 1 (Music and Crime) further links innovation to the broader funding landscape, stressing the responsibility of publicly funded institutions to demonstrate social relevance and audience impact.

We are a publicly funded orchestra […] by the State of Berlin and the Federal Republic of Germany. […] In my opinion, social trends or socio-political developments or topics should also be taken up. […] In the case of a publicly funded orchestra, the question of relevance quickly arises. (CP1, own translation)

The motives behind interdisciplinary concert formats are diverse, context-dependent and often overlapping. Rather than a unified strategy, they reflect a dynamic interplay of personal creativity, public mission and institutional pragmatism. These formats offer potential for cultural renewal while revealing the complex forces shaping today's concert landscape.

Challenges in creation and implementation

With regard to the third sub-research question on the challenges in the creation and implementation of interdisciplinary concert formats, the expert interviews reveal a range of practical, structural and cultural obstacles. While all interviewees highlight that such formats entail a significantly higher workload compared to conventional concerts, the nature of these challenges points to deeper systemic issues that extend beyond individual capacity.

Organising interdisciplinary formats is described as complex and demanding. Beyond topic selection and partner recruitment, it requires creativity, strong project management and often faces internal resistance – especially from musicians. This resistance is both technical and cultural, as new formats can challenge established ways of working and professional identities. A recurring theme across interviews is the dependence on highly motivated individuals as drivers of innovation. While this personal initiative can be a strength in the early stages, it also exposes a structural vulnerability: without institutional support mechanisms, such as dedicated roles, interdisciplinary coordination units or long-term strategic planning, these formats remain fragile and difficult to sustain. As one dramaturge notes:

It [the format] depends on the people who create it. And in this case, the idea came so strongly from me and the development came so strongly from me that it can't easily be taken up by someone else. (DR3, own translation)

Such statements reflect not only a lack of handover structures but a broader absence of institutional scaffolding for innovation. There are rarely incentives, dedicated budgets, or embedded processes that allow interdepartmental collaboration to take root. This is especially problematic in institutions that remain hierarchically organised and heavily focused on traditional repertoire cycles.

A key challenge is the lack of training for musicians and cultural managers in interdisciplinary work. Experts criticise a narrow focus on technical skills, with little emphasis on social issues. As Dramaturge 5 notes, many classical musicians are disconnected from current societal contexts. While this critique is valid, it should be balanced by examining emerging educational models that include interdisciplinary projects and social engagement – developments worth further analysis.

In practice, the lack of interdisciplinary training manifests in communication breakdowns, differing expectations and uncertainty in collaboration. It also fosters a certain resistance to change, especially when innovation is perceived as a threat to professional autonomy or artistic integrity. This is less a matter of individual reluctance and more a reflection of institutional cultures that have long rewarded specialisation and standardisation over experimentation.

Dramaturge 5 voices frustration at this reluctance to innovate, noting a disconnect between discourse and action.

Everyone cries that there is no audience. But when you come up with new ideas […] there are problems everywhere. And that's what makes it difficult to get new audiences. (DR5, own translation)

This quote captures a broader inertia within the classical music field, where acknowledgement of crisis does not always translate into institutional openness for change. However, the reasons for this resistance are complex and often tied to resource scarcity, risk aversion and entrenched power dynamics within cultural institutions.

In summary, the challenges in implementing interdisciplinary formats extend beyond questions of workload or attitude. They are embedded in a broader structural context characterised by limited institutional flexibility, inadequate training pathways and persistent cultural norms that prioritise tradition over innovation.

Potential for crisis management

This article responds to the widely discussed crisis of the classical concert, marked by aging audiences, declining attendance and reduced social relevance (Tröndle, 2018). These trends also threaten future funding. Against this backdrop, the study explores the potential of innovative concerts with socio-political or scientific focus to address these challenges. The results of the qualitative survey of concert producers are remarkable in this respect, as the crisis situation is perceived and evaluated quite differently by the interviewees in their individual work contexts. Although all of the experts interviewed are familiar with the crisis narrative of the classical concert, the representatives of the two Berlin orchestras, Dramaturge 2 and Dramaturge 1 from the Berliner Staatskapelle and Concert Programmer 1 from the DSO, state that they are not currently affected by negative audience development. However, this divergence in perception must be contextualised. It is likely shaped by institutional privilege, access to public funding, strong branding and historically stable subscriber bases – factors that insulate major orchestras from pressures felt more acutely by smaller or less well-funded institutions.

Contradictions from concert hall representatives suggest that the crisis of the classical concert is perceived and experienced differently, depending on regional and institutional contexts. Success may stem from factors like location, prestige, loyal audiences and symbolic capital such as political ties. Major orchestras may attract more stable, privileged audiences, less affected by broader shifts. Thus, their success doesn't disprove the crisis but highlights its uneven impact across institutions.

A key finding relevant to this article, building on the previous discussion of varying perceptions of the crisis, is that some of the format organisers interviewed stated that the crisis trends in classical concerts had not influenced the design of their formats. In the case of the Sustainable Listening format and the Green Box Chamber Concerts in particular, the primary reason for designing the respective format was the relevance of the topic of ecological sustainability. However, the expert interviews also provide a variety of insights into the central research question regarding the potential of the formats for crisis management. The findings are structured below according to the five approaches that Fein (2011) differentiates in relation to the development of innovative concert formats.

Music mediation approach

Sound of Time is an example of a format that follows this approach. As part of this event, the music is contextualised by the chosen socio-political or scientific topic and in some cases staged. According to the experts, this allows the format to convey the musical programme in a more complex way than would be possible in a traditional concert setting. Dramaturge 3 sees the main benefit of this approach in being able to experience contemporary music in a new way instead of intellectualising it.

You don't hear the music without context as you would in a normal concert, but you experience it and you realise that there is simply much more substance behind it and you also gain access to contemporary music. (DR3, own translation)

Other interviewees also see the variation of concert settings and reception situations for the audience as the key to lowering barriers to access, especially for younger audiences and (potential) first-time visitors.

It's not somehow musicians in tails playing music by mostly dead, mostly male composers, but it's a bit more relaxed and the audience and artists meet in a different low-threshold way. (DR1, own translation)

This approach is promising but currently remains isolated and difficult to scale. There is no evidence that it leads to sustained changes in audience composition or deepens engagement across different demographics. Long-term impacts – particularly on cultural participation habits – require further investigation.

Marketing approach

At the centre of the marketing approach is the development of new audience segments on the basis of clear target group definitions (see Fein, 2011). In view of the central symptoms of the crisis of the classical concert (declining visitor numbers, aging audience), there is obvious potential for marketing in targeting (potential) first-time visitors and/or younger people. While Dramaturge 5 definitely sees ‘potential’ in the Green Monday concert series to ‘generate really young people and new audiences’ (DR5, own translation), for Concert Programmer 1 (Music and Crime) new does not necessarily mean young.

So it's not that we're only appealing to young people, but simply to all people who perhaps didn't grow up going to classical concerts and are still given the chance to get involved with something new like classical music in adulthood. (CP1, own translation)

In the context of interdisciplinary concert formats, both the non-musical topic and the cooperation partners offer promising starting points that purely musical events do not have. One concrete example of success is the Music and Crime format, in which the successful true crime podcast Zeit Verbrechen was strategically selected by the DSO as a cooperation partner in order to reach a specific target group.

And of course a collaboration like this is an incredibly great opportunity for us to reach people who are podcast fans, but who don't know us yet, and then to connect them with us through a concert format like this. (CP1, own translation)

However, these strategies raise questions about artistic integrity. When extra-musical themes are selected based on marketing potential, the risk is that musical or scientific depth is diluted in favour of trendiness. There is also no data yet on whether these formats generate sustained audience loyalty or simply episodic interest.

Furthermore, a critical gap remains in evaluating whether such innovations diversify audiences socio-demographically. Without data on audience age, background or education, conclusions about outreach effectiveness remain speculative.

Financial approach

According to Fein (2011), innovative programming and conceptualisation can provide advantages in the acquisition of funding. However, the interviews indicate a methodological limitation: few respondents had financial responsibilities, and limited data was collected on how funding frameworks influence programming. This represents a noteworthy gap, as financial sustainability is integral to institutional resilience. Future research should incorporate perspectives from cultural funders, administrative leaders and finance officers to more comprehensively assess how interdisciplinary formats are evaluated and structurally supported.

Media attention approach

Fein (2011) describes how unique and innovative concert formats can increase media attention. Dramaturge 5 confirms this assessment with regard to the Green Monday concert series. She explains that there was still considerable potential for improvement in the area of media presence, which was utilised in particular through the targeted use of social media. This means that younger target groups in particular, who can primarily be reached via social networks, can be specifically addressed through innovative concert formats and social media marketing.

In general, interdisciplinary concert formats are also more attractive for journalistic reporting than conventional concerts due to their special nature and novelty. However, this potential must also be utilised through appropriate external presentation and references in the communication strategy. The interviews conducted indicate that this is not yet always the case.

If you communicate it properly, including via social media… you could have used it [the media presence] to a different extent to simply reach a much larger young audience. (DR5, own translation)

Overall, these efforts seem to be inconsistent and ad hoc. Few institutions have robust digital strategies, and many lack the internal capacity to produce media content tailored to younger audiences. The failure to engage effectively with contemporary media ecosystems is a missed opportunity that deserves critical attention.

Social connection approach

Fein (2011) mentions the creative potential for programme makers to ‘question the music, i.e. to search for points of contact with the present time and our society’ (p. 243, own translation) as the last approach that can motivate the conception and implementation of innovative formats. This view of Fein is confirmed by almost all interviewees, who state that the potential for connection inherent in the conception of concert formats is a key motivation for their personal involvement. The concert organisers are driven by the joy of trying out new ideas in this respect, intensifying music education and exchanging ideas with different disciplines.

So this whole idea of being able to experience music in a completely different way and, of course, my joy in conveying music without being didactic. I don't just want to talk about the piece, I want people to hear pieces they've heard 100 times before in a different way. (DR3, own translation)

Points of contact with the present time and society – to stay with Fein's wording – are specifically established by the Green Monday concert series, for example, which, according to Dramaturge 5, has an explicit interest in social education. If this or comparable formats succeed in drawing attention not only to the music but also to a specific topic, not only the concert but also the science or the respective socio-political topic benefits from this point of contact.

For me, it was always important that people leave the concert and take more with them than just music. For me, music was always just – in inverted commas – a medium. (DR5, own translation)

Interdisciplinary concerts can therefore not only be a means of communicating music, but can also serve to communicate science or complex socio-political issues. It is not insignificant that interdisciplinary formats in particular, with their obvious (potential) ability to mediate in different contexts, can ultimately also contribute to increasing the relevance of classical concerts.

Such positioning offers powerful opportunities for redefining the role of classical music. Yet again, the long-term effect of such formats on public perception, civic dialogue and political consciousness remains unclear and under-researched.

In summary, the expert interviews suggest that interdisciplinary concert formats offer considerable potential to address aspects of the classical concert crisis – but this potential is unevenly realised, inconsistently supported and insufficiently theorised. What emerges is not a unified transformation strategy but a patchwork of individual initiatives – each shaped by context, institutional culture and available resources. To fully assess their role in crisis management, future studies must integrate financial, structural and audience data and engage more deeply with the institutional logic of innovation in the cultural sector.

Discussion

In the theoretical section of this article, the potential of interdisciplinary concert formats that deal with socio-political and scientific topics was anticipated on the basis of existing research contributions. The results of our own empirical survey confirm key theoretical assumptions: By integrating socially relevant topics such as ecological sustainability, new contexts can be created that turn the classical concert into a multi-level social discourse space.

Holistic approaches that not only incorporate topics such as ecological sustainability into the concert programme in terms of content but also integrate them into concert operations at an organisational level, appear to be particularly effective. Formats such as the Green Monday concert series achieve this by actively integrating ecological measures into the event programme: For example, waste separation concepts are implemented, vegan catering is offered and information stands are set up to inform the audience about sustainable practices. In addition, climate-friendly measures are being trialled, such as reduced cooling of the venue in summer or reduced heating in winter.

Through this type of ‘structural integration’ ecological sustainability becomes tangible for audiences not only artistically but also through practical experience. The ecological orientation of the event is communicated both through the programme and through its operations. However, it is important to critically reflect on whether and how these infrastructural gestures actually influence audience perception or behaviour. Without data on reception or impact, there is a risk that these measures remain on a symbolic level rather than generating long-term awareness or change.

Interdisciplinary formats, developed from the outset with strategically selected partners, offer particular potential. The choice of topic usually arises organically from the cooperation itself and is therefore often particularly well integrated into the concert context. Such formats benefit from the fact that the collaborations enable access to specific knowledge and expertise that can enrich the concert in terms of content. In this way, the cooperation partners actively contribute to the artistic design and enable tangible synergies between music and science or social policy. Examples of such co-operation formats are Sound of Time, Einstein's Musicbox and Music and Crime.

That said, such collaborations should not be idealised. Different logics of knowledge production, communication and authorship can give rise to tensions between artistic and non-artistic actors. Power imbalances – such as unequal visibility or influence – can affect the quality of the collaboration and challenge the coherence of the artistic product. These dynamics, while underexplored in this study, merit further investigation to better understand the complexities of interdisciplinary cooperation.

Previous research already indicates that innovative concert formats are associated with considerable additional work for event organisers. The expert survey carried out allows this assessment to be further differentiated. In particular, it was found that artistic, thematic and organisational requirements are interlinked throughout the entire project process – from the conception and initiation of suitable collaborations to the staging of the individual events – and that there is a greater need for coordination and communication than in the staging of conventional concerts. Added to this is the challenge that it is not uncommon for the organisation itself to have to work hard to convince all those involved (especially the musicians) to commit to innovative formats.

A major challenge is the reliance on individual commitment. Innovative formats often depend on a few dedicated people, risking overload and threatening continuity if they leave. Long-term success requires organisational backing, including leadership support and adequate resources – staff, time, funding and training – to embed interdisciplinary work sustainably. The study shows that innovative formats don’t always require major resources. For instance, the Düsseldorf Symphony's Green Monday series was integrated into an existing subscription, keeping costs low. This illustrates how innovation can be achieved through creative use of existing structures, a model potentially transferable to other contexts. This approach is especially valuable given the growing resource constraints in the cultural sector. In the theoretical approach to the subject area of this article, it was also outlined that the classical concert format with its focus on music has grown historically and been developed over more than two centuries. Still today it is considered and appreciated as the standard concert format. The research findings should therefore be considered not least in this historical context: According to the experts interviewed, a rethink in the music business is needed, in order for interdisciplinary formats, which by definition deviate from the music-centred approach to be established for the long term. This rethink must begin with the education of artists and prospective cultural managers. Traditional education programmes often do not adequately prepare students for the challenges of interdisciplinary and innovative thinking and working. As a result, there is currently (still) a lack of willingness and ability to innovate among those involved, although these very skills are clearly becoming increasingly important when it comes to maintaining the competitiveness of individual orchestras and/or the future viability of the classical concert business as a whole.

The dual nature of interdisciplinary concert formats, which are always simultaneously an artistic and a social discourse offering, results in a further requirement for training systems. This duality opens up new evaluative perspectives: it is no longer only artistic excellence that defines the success of a concert, but also its thematic relevance, capacity for dialogue and social resonance. However, this also introduces new demands on dramaturgy, communication and critical reception – demands that must be addressed more thoroughly in future research and practice.

In terms of adapting education systems in Germany and other countries, there are already approaches for integrating intercultural and transcultural sensitivity and skills into university programmes, looking beyond traditional subjects and disciplines. While there is not enough space here to explain these approaches in detail, two-subject Bachelor's programmes, in which students can study music as their major and choose a second subject (such as the social sciences) as their minor, may serve as an example.

In sum, interdisciplinary concert formats offer valuable strategies for addressing the current challenges facing the classical concert world. To fully assess their transformative potential, further analysis is needed – particularly regarding their institutional embedding, educational implications, audience dynamics and the politics of collaboration. Only through such critical engagement can these formats move from isolated innovations to sustained contributions within a changing cultural landscape.

Conclusion

The expert interviews show that the crisis of the classical concert is perceived differently by the organisers and that the symptoms of crisis vary in the different organisational and working contexts. These divergent perceptions appear to be closely linked to institutional factors such as funding stability, audience loyalty and organisational reputation, which may shield some organisations from structural pressures faced more acutely by others.

With regard to the central question of this article, this leads to the important insight that the crisis situation of the classical concert is not always the primary driver in the conception of innovative concert formats. Rather, other motivations – such as artistic curiosity, thematic relevance, personal values and the desire to collaborate with specific partners – often play a more decisive role. Understanding how these drivers interact with long-term strategic goals in the classical music field remains an important area for further research. The results of the research also indicate that innovative and interdisciplinary concert formats that deal with scientific and socio-political topics offer various potentials to counteract the crisis tendencies of the classical concert: by addressing new target groups through non-musical topics and opening up low-threshold access for first-time visitors.

Interdisciplinary formats also offer alternative ways of contextualising and communicating music through socio-political and scientific topics. The research results also show that the creation and implementation of such formats require specific skills on the part of the organisers and means a considerable amount of extra work for them compared to conventional concerts. This underscores the need to develop institutional support structures – such as interdisciplinary coordination roles, additional training opportunities and internal incentives – that enable this work to be carried out sustainably.

In the long term, the innovative potential of these formats can only be realised if the necessary resources are made available and institutional structures are created that sustainably promote interdisciplinary approaches. For cultural management practice, this means that innovative formats should not just be conceived as one-off experiments, but as integral components of concert operations. In the case of interdisciplinary formats, it also seems necessary to consider their dual character and not to reduce them to their potential for renewal for individual orchestras or concert productions. In the interviews with experts, their social and political relevance was repeatedly emphasised, which lies above all in the fact that interdisciplinary formats can function as platforms for discourse and as a means of artistic engagement with current social issues and challenges. This dual nature – as both artistic offering and public intervention – raises important theoretical and empirical follow-up questions: How does this hybridity shape audience expectations, influence curatorial choices and affect funding frameworks?

Connection points for follow-up research

Against the background of the analysis carried out, it seems necessary to encourage, above all, more empirical research into crisis diagnosis, which is widespread in current concert studies. Further empirical foundations and differentiations appear necessary, as it became clear in the course of the analyses that the crisis is perceived and evaluated very differently by concert organisers. On this basis, the results of this article could also be supplemented by analyses of other innovative concert formats. The focus could remain on interdisciplinary approaches and formats, which could be presented in a comparative way to highlight their innovative character. For example, through the use of alternative venues, special opportunities for audience participation and/or the use of new (media) technologies. Future research could examine the potential of different innovative formats to address the concert crisis and how they vary in this regard. Such insights could inform future programming strategies. Further studies on interdisciplinary formats might explore whether they represent a lasting shift or a short-term trend – and what implications this has for concert practice.

Footnotes

ORCID iDs

Jakob Leba

Aljoscha Paulus

Consent to participate

Informed consent was obtained verbally before participation. The consent was audio-recorded. The personal data of the interviewees has nevertheless been anonymised in the text.

Funding

The author(s) received no financial support for the research, authorship, and/or publication of this article.

Declaration of conflicting interests

The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Data availability statement

The datasets generated during and/or analysed during the current study are available from the corresponding author on reasonable request.

References

Accominotti

Storer

Khan

(2018) How cultural capital emerged in gilded age America: Musical purification and cross-class inclusion at the New York philharmonic. American Journal of Sociology 123(6): 1743–1783.

Allen

(1962) Philosophies of Music History: A Study of General Histories of Music, 1600-1960. Dover Publications.

Allmanritter

Tewes-Schünzel

(2023) Kultureinrichtungen in (post-pandemischem) Veränderungsdruck – wie zu anderer Relevanz gelangen? kurz&knapp-Bericht Nr. 5. Berlin: Institut für Kulturelle Teilhabeforschung IKTf.

Aviñoa

(2016) La interdisciplinarietat: Constatació i repte / L’interdisciplinarité: Constatation et défi. Temps D’educació/Temps D’educació 50: 145–152. https://raco.cat/index.php/TempsEducacio/article/view/312605 .

Avraam

(2018) Visuals within classical music concerts - How can we attract young audience? (Master's thesis, Utrecht University). Student Theses. https://studenttheses.uu.nl/handle/20.500.12932/31176

Bakhshi

Throsby

(2010) Culture of innovation: An economic analysis of innovation in arts and cultural organisations. London: NESTA. https://www.nesta.org.uk/report/culture-of-innovation/.

Baratè

Haus

Ludovico

, et al. (2019) Investigating interpretative models in music through multi-layer representation formats. Journal of Music, Technology & Education 12(1): 95–113.

Behrens

(2020) Roll over Beethoven … notes on concerts under conditions of the culture industry. In: Tröndle

(ed) Classical Concert Studies. London: Routledge, 9–17.

Bekmeier-Feuerhahn

Ober-Heilig

(2011) Lehrbuch Kulturmarketing: Theorien, Strategien und Gestaltungsinstrumente für Kulturbetriebe. Stuttgart: Schäffer-Poeschel.

10.

Brown

Ratzkin

(2013) New World Symphony. Summary Report: 2010-2013 Concert Format Assessment. http://cuttime.com/wp-content/uploads/2013/11/nws-final-assessment-report-on-new-concert-formats.pdf.

11.

Bundesverband der Veranstaltungswirtschaft e.V. (bdv) (2017) Live Entertainment in Deutschland. Hamburg: bdv. https://bdkv.de/wp-content/uploads/2018/02/bdv-Studie-2017.pdf.

12.

Burland

Pitts

, eds. (2016) Coughing and Clapping: Investigating Audience Experience. New York: Routledge.

13.

Canisius

Tröndle

(2011) Die Yellow Lounge denkt das Forum Konzert neu. In: Trödle

(ed) Das Konzert Neue Aufführungskonzepte für Eine Klassische Form (2nd ed., rev.). Bielefeld: transcript, 293–300.

14.

Cohen

(2022) Classical Music and Audience Engagement: Updating the Bernstein Model. Aotearoa New Zealand: University of Canterbury.

15.

Curtin

Whittaker

(2022) Introduction: Representation in/of classical music. Open Library of Humanities 8(1): 1–10. https://doi.org/10.16995/olh.8252.

16.

Dearn

Pitts

(2017) (Un)popular music and young audiences: Exploring the classical chamber music concert from the perspective of young adult listeners. Journal of Popular Music Education 1: 43–62.

17.

Deutsches Musikinformationszentrum (MiZ) (2024) Umsatz aus digitalen Musikverkäufen. Bonn: Deutscher Musikrat, miz.org. https://miz.org/de/statistiken/umsatz-aus-digitalen-musikverkaeufen?filter%5Bresource%5D%5B0%5D=Statistik&widget%5Bdescription%5D%5Btid%5D=15490&context=musikleben&position=4.

18.

Dobson

(2010) New audiences for classical music: The experiences of non-attenders at live orchestral concerts. Journal of New Music Research 39(2): 111–124.

19.

Estelami

Lichtmann

(2019) Determinants of prices for the performing arts. Journal of Promotion Management 25(6): 890–906.

20.

Feiertag

(2009) Michael Theede: Management und Marketing von Konzerthäusern. In: Bekmeier-Feuerhahn

Höhne

, Keller

et al. (eds) Forschen im Kulturmanagement. Bielefeld: transcript, 244–246.

21.

Fein

(2011) Musikkurator und RegieKonzept. In: Tröndle

(ed) Das Konzert. Neue Aufführungskonzepte für Eine Klassische Form (2nd ed., rev.). Bielefeld: transcript, 239–246.

22.

Franklin

(2023) Global music politics: Whose playlist for troubled times? Current History 122(840): 29–35.

23.

Gembris

(2009) Entwicklungsperspektiven zwischen Publikumsschwund und Publikumsentwicklung. Empirische Daten zur Musikausbildung, dem Musikerberuf und den Konzertbesuchern. In: Tröndle

(ed) Das Konzert. Neue Aufführungskonzepte für eine klassische Form (2nd ed., rev.). Bielefeld: transcript, 61–82.

24.

Gembris

Menze

(2020) Between Audience Decline and Audience Development: Perspectives on the Professional Musician, Music Education, and Cultural Policy . London: Routledge.

25.

Gläser

Laudel

(2010) Experteninterviews und qualitative Inhaltsanalyse als Instrumente rekonstruierender Untersuchungen (4th ed.). Wiesbaden: VS.

26.

Glynn

(2002) Chord and discord: Organizational crisis, institutional shifts, and the musical canon of the symphony. Poetics 30(1-2): 63–85.

27.

Gotham

(2014) First impressions: On the programming and concert presentation of new music today. Tempo 68(267): 42–50.

28.

Greckel

(2021) Visualization in the performance of classical music: A new challenge. Visions of Research in Music Education 16(3): 35.

29.

Hambersin

(2017) Classical music: New proposals for new audiences. In: Ateca-Amestoy

Ginsburgh

Mazza

et al. (eds) Enhancing Participation in the Arts in the EU: Challenges and Methods. Springer eBooks, 311–322.

30.

Harbor

(2020) The marketing of concerts in London 1672–1749. Journal of Historical Research in Marketing 12(4): 449–471.

31.

Heinen

(2013) Wer will das noch hören? Besucherstrukturen bei Niedersächsischen Sinfonieorchestern. Wiesbaden: Springer VS.

32.

Holm

(2009) Musikvermittlung für Erwachsene: Chancen und Grenzen für das Konzertwesen der Zukunft. Saarbrücken: VDM-Verlag Müller.

33.

Huo DFD (2022) Concert lecture as an approach of community music education: A case study of an orchestra educational programme (Master's thesis, University of Hong Kong). Hong Kong: The Education University of Hong Kong Library. https://www.lib.eduhk.hk/pure-data/pub/202301230.pdf

34.

Kalbhenn

(2011) Konzertprogramme. Das Kernprodukt als Chance und Herausforderung für Konzerthäuser. Berlin: Peter Lang.

35.

Keith

(2022) Concert curation: On the importance of audience engagement, and the improvement of the classical music concert (Master's thesis, Luleå University of Technology). Luleå: University of Technology. https://ltu.diva-portal.org/smash/get/diva2:1689113/FULLTEXT01.pdf.

36.

Kellersmann

(2018) Die „neue klassik“. In: Tröndle

(ed) Das Konzert II: Beiträge zum Forschungsfeld der Concert Studies. Bielefeld: transcript, 378–387.

37.

Keuchel

(2005) Akzeptanz als Chance nutzen für mehr Publikum in Musiktheatern und Konzerten. Bonn: Deutsches Musikinformationszentrum (MiZ). https://miz.org/sites/default/files/documents/kulturbarometer_zusammenfassung.pdf.

38.

Keuchel

(2022) Das Konzertpublikum von morgen: Herausforderungen des postglobalen und postdigitalen Zeitalters. In: Müller-Brozovic

Weber

(eds) Das Konzertpublikum der Zukunft: Forschungsperspektiven, Praxisreflexionen und Verortungen im Spannungsfeld einer sich verändernden Gesellschaft. Bielefeld: transcript, 21–42.

39.

Kolb

(2000) Marketing for cultural organisations: New strategies for attracting audiences to classical music, dance, museums, theatre and opera. Dublin: Oak Tree.

40.

Kolb

(2001) The effect of generational change on classical music concert attendance and orchestras’ responses in the UK and US. Cultural Trends 11(41): 1–35.

41.

Liz Mohn Stiftung (2025) Relevanzmonitor Kultur. Stellenwert von Kulturangeboten in Deutschland. Gütersloh: Liz Mohn Stiftung. https://liz-mohn-stiftung.de/wp-content/uploads/2025/04/Relevanzmonitor-Kultur-2025_LMSt_Bericht.pdf.

42.

Marín

MÁ

(2018) Challenging the listener: How to change trends in classical music programming. Resonancias: Revista De Investigación Musical 42: 115–130.

43.

Martí

Collins

(2024) Ethnomusicology, folklore, and social relevance. By josep martí. Translated by peter collins. Ethnomusicology Translations 15: 1–20.

44.

Mayring

Fenzl

(2022) Qualitative inhaltsanalyse. In: Baur

Blasius

(eds) Handbuch Methoden der Empirischen Sozialforschung. Wiesbaden: Springer VS, 691–706.

45.

Müller-Brozović

(2023) Das Konzert als Resonanzraum: Resonanzaffine Musikvermittlung durch intensives Erleben und Involviertsein. Bielefeld: transcript.

46.

Neuhoff

(2007) Die Konzertpublika der deutschen Gegenwartskultur. Empirische Publikumsforschung in der Musiksoziologie. In: de la Motte-Haber

Neuhoff

(eds) Musiksoziologie. Lilienthal: Laaber, 473–509.

47.

Pitts

Price

(2020) Understanding Audience Engagement in the Contemporary Arts . London: Routledge.

48.

Pompe

Tamburri

(2016) Fiddling in a vortex: Have American orchestras squandered their supremacy on the American cultural scene? The Journal of Arts Management, Law, And Society 46(2): 63–72.

49.

Pompe

Tamburri

(2022) The symphony orchestra in the time of COVID-19: Will American orchestras rise from the ashes? Cultural Trends 32(1): 35–51.

50.

Pompe

Tamburri

Munn

(2013) Symphony concert demand: Does programming matter? The Journal of Arts Management Law And Society 43(4): 215–228.

51.

Price

(2020) In defence of the familiar? Understanding conservatism in concert selection amongst classical music audiences. Participations: Journal of Audience and Reception Studies 17(2): 234–255.

52.

Ramnarine

(2011) The orchestration of civil society: Community and conscience in symphony orchestras. Ethnomusicology Forum 20(3): 327–351.

53.

Rebelo

(2025) Strategies to reduce the effects of cost disease in orchestras. Cultural Trends: 1–24. https://doi.org/10.1080/09548963.2025.2471335.

54.

Renz

Almannritter

(2022) Die Pandemie Als Brandbeschleuniger. Strukturelle Veränderungen im Kulturpublikum zwischen 2019 und 2022. kurz&knapp-Bericht Nr. 3. Berlin: Institut für Kulturelle Teilhabeforschung (IKTf).

55.

Reuband

K-H

(2011) Konzertbesuch im Aufschwung oder Niedergang. Der Einfluss von Alter, Generationszugehörigkeit und Bildung auf den Besuch klassischer Konzerte. Sociologia Internationalis 49(2): 199–225.

56.

Reuband

K-H

(2019) Musikpräferenzen und Musikpublika. Bonn: Deutsches Musikinformationszentrum (MiZ). https://miz.org/de/beitraege/musikpraeferenzen-und-musikpublika .

57.

Rizkallah

(2009) A non-classical marketing approach for classical music performing organizations: An empirical perspective. Journal of Business & Economics Research (JBER) 7(4): 111–124. https://doi.org/10.19030/jber.v7i4.6870.

58.

Roose

(2008) Many-voiced or unisono? An inquiry into motives for attendance and aesthetic dispositions of the audience attending classical concerts. Acta Sociologica 51(3): 237–253.

59.

Schmidt

(2023, June 26) Klimakonzerte: Nur mit der Pastorale lässt sich nichts bewirken. Südwestrundfunk (SWR). Retrieved May 8, 2024, from https://www.swr.de/swrkultur/musikklassik/klimakonzerte-nur-mit-der-pastorale-laesst-sich-nichts-bewirken-100.html.

60.

Schwanse

(2020) „Wann gehen wir wieder ins Familienkonzert?” Eine empirische Längsschnittstudie über die Erfolgsfaktoren einer langfristigen Kooperation von Konzertveranstalter und Grundschulen. Münster: Lit.

61.

Siebenhaar

(2009) Audience development: oder die Kunst, neues Publikum zu gewinnen. Berlin: B & S Siebenhaar.

62.

Sigurjonsson

(2010) Orchestra audience development and the aesthetics of “customer comfort”. The Journal of Arts Management, Law, and Society 40(4): 266–278.

63.

Sloboda

(2013) Musicians and their live audiences: dilemmas and opportunities. Understanding Audiences Working Paper 3. Guildhall School of Music.

64.

Swarbrick

Martin

Høffding

, et al. (2024) Audience musical absorption: Exploring attention and affect in the live concert setting. Music & Science 7: 1–19. https://doi.org/10.1177/20592043241263461.

65.

Theede

(2007) Management und Marketing von Konzerthäusern. Die Bedeutung des innovativen Faktors. Frankfurt a. M.: Peter Lang.

66.

Tröndle

, ed. (2011) Das Konzert: Neue Aufführungskonzepte für eine klassische Form (2nd ed., rev.). Bielefeld: transcript.

67.

Tröndle

(ed) (2018) Das Konzert II: Beiträge zum Forschungsfeld der Concert Studies. Bielefeld: transcript.

68.

Tröndle

Weining

Wald-Fuhrmann

, et al. (2025) Classical concert visitor types: Attendance motivation, expectation, and experience. The Journal of Arts Management, Law, and Society 55(1): 1–20.

69.

Wald-Fuhrmann

Egermann

Czepiel

, et al. (2021) Music listening in classical concerts: Theory, literature review, and research program. Frontiers in Psychology 12: Article 638783.

70.

Walter

(2018) Ein Manifest zur Konzertkultur. In: Tröndle

(ed) Das Konzert II: Beiträge zum Forschungsfeld der Concert Studies. Bielefeld: transcript, 403–414.

71.

Weber

(1999) The history of the musical canon. In: Cook

Everist

(eds) Rethinking music. Oxford: Oxford University Press, 336–355.

72.

Whitaker

Philliber

(2003) Bridging the gap: Innovations to save our orchestras. Miami: John S. and James L. Knight Foundation.

73.

Wimmer

(2020) Audience development and engagement. In: Ruth

Ginsborg

Stover

(eds) Classical Concert Studies. London: Routledge, 271–280.

74.

Wimmer

(2021) Musikvermittlung für Erwachsene als kontextuelle Praxis vor und im Konzert. In: Müller-Brozovic

Weber

(eds) Das Konzertpublikum der Zukunft. Forschungsperspektiven, Praxisreflexion und Verortung im Spannungsfeld einer sich verändernden Gesellschaft. Bielefeld: transcript, 125–138.

‘It's not only musicians in tails playing music by mostly dead male composers’: New interdisciplinary formats to counter the classical concert crisis

Abstract

Keywords

Introduction: Crisis management through new interdisciplinary formats?

Literature review: The classical concert format – symptoms of crisis and approaches to innovation

Symptoms of crisis in the classical concert

Audience decline and demographic shifts

Economic challenges and financial vulnerability

Repertoire rigidity and canonical constraints

Declining social and cultural relevance

Response strategies in the classical concert business

Concepts for a new level of concert experience

Focus on interdisciplinary concepts

Specification of the research interest

Research design

Sample description

Dramaturge 1 (DR1) & Dramaturge 2 (DR 2); Staatskapelle Berlin: Sustainable listening

Concert programmer 1 (CP1); Deutsches Sinfonieorchester: Music and crime

Dramaturge 3 (DR3); Philharmonisches Orchester Regensburg: Sound of time

Artistic director 1 (AD1); Staatsoperette Dresden: Green-box chamber concerts

Dramaturge 4 (DR4); Sinfonieorchester Aachen: Einsteins musicbox

Dramaturge 5 (DR5); Düsseldorfer Symphoniker: Green Monday

Data collection and analysis

Results

Conception and innovation value

Motives and goals of the organisers

Challenges in creation and implementation

Potential for crisis management

Music mediation approach

Marketing approach

Financial approach

Media attention approach

Social connection approach

Discussion

Conclusion

Connection points for follow-up research

Footnotes

ORCID iDs

Consent to participate

Funding

Declaration of conflicting interests

Data availability statement

References