The Structure Dictates the Music
Changes in Concert Format in Hybrid Experiences of Two Major Brazilian Orchestras
Keywords:
Concert Format, Frame, Affordance, Concert Music, Hybrid ConcertsAbstract
In this article, we seek to investigate how the displacement of concert music into the digital environment, specially after the COVID-19 pandemic, puts pressure on the codes and practices consolidated in the so-called concert format. The analysis is structured around two axes: the analysis of the historical construction of the traditional concert as a space for ritualized listening and the observation of the transformations that occurred with the hybridization of this model along the digital environment. Using the concepts of Frame and Affordance as analytical lenses, we examine how different environments shape the possibilities of listening, behavior, and participation of the audience. This paper addresses initiatives carried out by two Brazilian institutions, namely the São Paulo State Symphony Orchestra (OSESP) and the Minas Gerais Philharmonic Orchestra (OFMG), whose live broadcasts since the pandemic period highlighted changes in the musical experience. It is observed that the digital environment generated a new arrangement, more flexible and participatory, in which the centrality of the work is displaced in favor of a collective and interactive experience. It is concluded that the experiences lived during and after the pandemic open space to rethink concert music beyond institutional rigidity, exploring hybrid and diverse formats.
Downloads
References
Autor.
Autor.
Autor.
Bragança de Almeida, Tayane. 2024. “Modos de relação com a cultura: Um estudo a partir da construção e análise de retratos individuais”. Master’s dissertation, Universidade do Estado de Minas Gerais. https://zenodo.org/records/13908474.
Alves, Elder P. Maia. 2019. “A Digitalização Do Simbólico E O Capitalismo Cultural-Digital: A Expansão Dos Serviços Culturais-Digitais No Brasil.” Sociedade E Estado 34 (1): 129–57. https://doi.org/10.1590/s0102-6992-201934010006.
Alves, Elder P. Maia. 2020. “Competição E Digitalização: A Expansão Dos Serviços Culturais-Digitais – Os Casos Da Netflix, Dinsey E Apple.” Ciências Sociais Unisinos 55 (3). https://doi.org/10.4013/csu.2019.55.3.03.
Behrens, Roger. 2021. “Roll Over Beethoven . . .: Notes on Concerts under Conditions of the Culture Industry.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 287–295. New York: Routledge.
Cook, Nicholas. 2006. “Entre o Processo e o Produto: Música e/enquanto Performance.” Per Musi, n.º 14: 5–22. https://doi.org/10.35699/2317-6377.2006.55216.
Dobson, Melissa C. 2010. “New Audiences for Classical Music: The Experiences of Non-Attenders at Live Orchestral Concerts.” Journal of New Music Research 39, no. 2: 111–24. https://doi.org/10.1080/09298215.2010.489643.
Fein, Markus. 2021. “Musical Curator and Concert Director.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 126–129. New York: Routledge.
Feitosa, Sebastião Gonçalves, e Taiza Mara Rauen Moraes. 2025. “Histórias de Vida e Narrativas Contemporâneas sobre Orquestras”. DEBATES - Cadernos Do Programa De Pós-Graduação Em Música 29 (abril). https://seer.unirio.br/revistadebates/article/view/13624.
Fraser, Trisnasari, Alexander Hew Dale Crooke, and Jane W. Davidson. 2021. “‘Music Has No Borders’: An Exploratory Study of Audience Engagement with YouTube Music Broadcasts during COVID-19 Lockdown, 2020.” Frontiers in Psychology 12 (July). https://doi.org/10.3389/fpsyg.2021.643893.
Gibson, James J. 2015. The Ecological Approach to Visual Perception. London: Psychology Press.
Hall, Stuart. 2013. Da Diáspora: Identidades e mediações culturais. Belo Horizonte: Editora UFMG
Hennion, Antoine. 2011. “Pragmática do Gosto.” Revista de Ciências Sociais da PUC-Rio 8: 253–77. https://desigualdadediversidade.soc.puc-rio.br/media/artigo10_8.pdf.
Hennion, Antoine. 2016. The Passion for Music: A Sociology of Mediation. New York: Routledge.
Höhne, Steffen. 2021. “Noise and Sound: The Historicity and Sociability of the Senses.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 143–149. New York: Routledge.
Horner, Bruce. 1998. “On the Study of Music as Material Social Practice.” The Journal of Musicology 16 (2): 159–199. https://doi.org/10.2307/764139.
Kirchberg, Volker. 2021. “A Sociological Reflection on the Concert Venue.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 188–192. New York: Routledge.
Minczuk, Arcadio. 2014. “O contexto histórico, político e econômico de orquestras sinfônicas do Brasil”. PhD thesis, Pontifícia Universidade Católica de São Paulo. https://repositorio.pucsp.br/jspui/handle/handle/13310
Orquestra Filarmônica de Minas Gerais. 2025. “Tchaikovsky, Mozart e Ravel | Regência de Fabio Mechetti e Pilar Policano ao violino" de Mozart.” Accessed Jun 02, 2025. https://www.youtube.com/watch?v=F1wN-wuBXxc.
Orquestra Sinfônica do Estado de São Paulo. n.d. “Concerto Digital OSESP.” Accessed Sep 30, 2023. http://www.osesp.art.br/paginadinamica.aspx?pagina=concertodigitalosesp.
Orquestra Sinfônica do Estado de São Paulo. 2025. “Concerto Digital: a transcendência no "Réquiem" de Mozart.” Accessed Jun 02, 2025. https://www.youtube.com/watch?v=keEa5POpkho.
Peters, Peter, Stefan Rosu, and Ruth Benschop. 2021. “The Researching Orchestra: Innovative Collaborations between Symphonic Orchestras and Knowledge Institutions.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 342–350. New York: Routledge.
Peterson, Richard A, Albert Simkus. 2015. “Como os gostos musicais marcam os grupos de status ocupacional.” In Cultivando Diferenças: fronteiras simbólicas e a formação da desigualdade, edited by Lemont, Michèle, Marcel Fournier, 207–253. São Paulo: Edições SESC SP.
Pitts, Stephanie. 2021. “Musical, Social, and Moral Dilemmas: Investigating Audience Motivations to Attend Concerts.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 227–237. New York: Routledge.
Rebstock, Matthias. 2021. “Strategies for the Production of Presence.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 134–140. New York: Routledge.
Sala São Paulo. n.d. “Sala São Paulo: História.” Accessed May 27, 2025. https://salasaopaulo.art.br/salasp/pt/sobre/sala-sao-paulo-historia.
Serdaroglu, Emine. 2020. “Exploring the Use of Youtube by Symphonic Orchestras as an Educational Platform during the Pandemic of Covid-19.” European Journal of Social Science Education and Research 7 (3): 59. https://doi.org/10.26417/770wga72a.
Schulze, Gerhard. 2021. “The Discovery of Listening in the Concert.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 40–44. New York: Routledge.
Silva, Paulo César Ribeiro da. 2013. Diferentes Modelos de Gestão Orquestral: uma comparação da Filarmônica de Minas Gerais e o da Sinfônica de Minas Gerais. Master’s dissertation, Universidade Federal da Bahia. https://repositorio.ufba.br/ri/handle/ri/18748.
Silveira, Diomar, Fabio Mechetti. n.d. "A Orquestra Filarmônica de Minas Gerais diante da pandemia do coronavírus." Accessed May 23, 2023. https://filarmonica.art.br/instituto/noticias/a-orquestra-filarmonica-de-minas-gerais-diante-da-pandemia-do-coronavirus.
Thorau, Christian. 2021. “From Program Leaflets to Listening Apps: A Brief History of Guided Listening.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 61–80. New York: Routledge.
Tröndle, Martin. 2021. “A Concert Theory.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 11–28. New York: Routledge.
Uhde, Folkert. 2021. “Concert Design: Form Follows Function.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 107–125. New York: Routledge
Ungeheuer, Elena. 2021. “Concert Formats: Liturgy—Ritual—Power?.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 51–57. New York: Routledge.
Wald-Fuhrmann, Melanie, Hauke Egermann, Anna Czepiel, Katherine O’Neill, Christian Weining, Deborah Meier, Wolfgang Tschacher, Folkert Uhde, Jutta Toelle, and Martin Tröndle. 2021. “Music Listening in Classical Concerts: Theory, Literature Review, and Research Program.” Frontiers in Psychology 12 (April). https://doi.org/10.3389/fpsyg.2021.638783.
Walter, Steven. 2021. “A Manifesto of Concert Culture.” In Classical Concert Studies: A Companion to Contemporary Research and Performance, edited by Martin Tröndle, 329–335. New York: Routledge.
Weining, Christian. 2022. “Listening Modes in Concerts.” Music Perception 40 (2): 112–34. https://doi.org/10.1525/mp.2022.40.2.112.
Williams, Raymond. 2005. Culture and Materialism. London: Verso.
