While living in an experience economy, or an experience society, it seems musicians do not fully engage in these, basically great for the arts, times. Both in the training of musicians and in what they present as their product, their relationship with the repertoire is central, as if assuming that this is also the epitome of attraction to an audience. And maybe the words “repertoire” and “audience” are the pillars of a tradition which is not completely in sync with the present anyway?

When replacing those with the words “music” and “community”, we find ourselves in the heart of the matter: artistic practices open up to transversal, interdisciplinary and inclusive approaches, outreach is not conceived as a separate activity, and it is also possible to relate the conventional setting of a classical music concert, in a concert hall, with an informed, exclusive audience, to the special role that music and music making fulfil; creating unique experiences with universal dimensions.

Building on this, repertoire becomes a reservoir for musicians as makers in society.

In this session, we will discuss the concept, and explore a real-life example of a conflict between this approach and the prevailing professional habits.