Indiana Wollman

Many of us today still believe in the power of music to “make humanity together.” In our globalized, pluralist, Western societies, cultural institutions must still contend with the crucial challenge of expanding audiences and attracting new ones.  

What means are available to heritage musical institutions on either side of the Atlantic to continue to democratize music access, as well as to put the concept of cultural democracy into practice? 

By exploring various institutions and meeting different key players in the world of music, I would like to gain a better grasp of what is being done in response to the modern challenges of cultural democratization and democracy. My residency will center around two areas in particular.  

The first has to do with the sometimes highly ambitious education policies that are being led by cultural institutions. What are the outcomes of programs for art education and education through art? How do they impact on the workplace environment and society at large? How will they shape the audiences of concert venues in years to come?  

The second focuses on the places where cultural institutions operate, and the development of the music complex as a space of life. What kind of events are planned outside the usual gathering spots? How can the concert venue be associated with other organizations for music, the arts, the community (such as local clubs, day cares, etc.), and business? What will be the impact of new audiences coming into contact with the institution? 

I firmly believe that we need a scientific approach that presents a specific intellectual perspective to investigate these two areas. As such, I intend to bring together US university researchers of all backgrounds—from social science through to cognitive science—who have insight into projects led by the musical institutions that I will visit, in an effort to spark synergy around these shared reflections. 

This residency will take place mainly in New York City and Los Angeles. These cities are proven trailblazers, with bustling art scenes replete with artistic and cultural projects for all audiences. In this regard, they will be invaluable in helping put into perspective all the work that the Philharmonie de Paris has launched on these subjects within the context of public cultural policy. Moreover, both cities provide a chance to meet researchers from various disciplines employed at prestigious universities. 

In New York City, ambitious educational projects are also underway at several arts centers and concert venues that host major ensembles, such as Lincoln Center, and the Weill Music Institute at Carnegie Hall. I would like to strengthen ties between the Philharmonie de Paris and Columbia University, and I will travel to Duke University to further the stimulating exchanges that have already begun there. 

In Los Angeles, youth orchestras, including those of the YOLA program backed by the Los Angeles Philharmonic, have forged solid links with leading research institutes, such as the Brain and Creativity Institute. This neuroscientific angle is of particular interest to me. I also hope to travel to San Francisco to understand the partnership between the San Francisco Symphony and San Francisco’s Unified School District. 

This residency will therefore be an opportunity to meet many pivotal players in the music and academic spheres to develop synergy and research partnerships around these shared issues.