{"id":117099,"date":"2025-06-19T10:08:57","date_gmt":"2025-06-19T08:08:57","guid":{"rendered":"https:\/\/www.cini.it\/?post_type=cini_events&p=117099"},"modified":"2026-05-08T12:54:04","modified_gmt":"2026-05-08T10:54:04","slug":"music-and-sound-after-covid-19-new-creativities-new-technologies-new-soundscapes-in-a-period-of-crisis","status":"publish","type":"cini_events","link":"https:\/\/www.cini.it\/en\/eventi\/music-and-sound-after-covid-19-new-creativities-new-technologies-new-soundscapes-in-a-period-of-crisis\/","title":{"rendered":"Music and sound after Covid-19. New creativities, new technologies, new soundscapes in a period of crisis"},"content":{"rendered":"

Five years have passed since Covid-19 plagued the world, dramatically changing \u2013 at least for some time \u2013 interactions and behaviors across various geographical and social contexts and establishing new relationships with the environment.<\/p>\n

This Seminar, organized by the Intercultural Institute for Comparative Music Studies in collaboration with the Institute of Music as part of the thematic itinerary Democracy and Pandemics, promoted by Fondazione Giorgio Cini, aims to discuss the medium-term consequences that the pandemic had on the manifold sonic aspects of life, as sound is a fundamental means through which humans exist in, and understand the world.<\/p>\n

Confinement led to new ways of communicating and being heard through sound, creating new relationships within both physical and virtual spaces. It also promoted the development of technologies to mitigate the effects of distancing, fostering the spread of unprecedented social practices. Some of these solutions were quickly abandoned once confinement ended and faded from people\u2019s memory, while others became permanent in social life and have continued to evolve to this day. T he pandemic also fostered various forms of sonic agency to face and cope with the medical and social crisis. One may reflect on the new musical creativities that emerged during that time, for instance, as means of addressing the pandemic on emotional, aesthetic, and organizational levels. In this respect, some responses to Covid-19 were global, creating worldwide networks, while others remained locally specific. One should also consider how these creative strategies related to the development of new technologies, starting with the online platforms that saw significant growth in 2020 and have continued to evolve ever since. Moreover, one may reflect on the legacy of the new soundscapes that emerged during the time of Covid-19, from environmental consequences to music from balconies and new ways of organizing social and musical gatherings.<\/p>\n

Another matter of concern is the historical perspective: how musically specific were the emotional and social reactions elicited by the Covid-19 pandemic compared to similar events in the recent and distant past? What can be learned from a comparative approach? Scholars of musicology and ethnomusicology, performers and artistic directors are gathered to reflect \u2013 through an interdisciplinary dialogue \u2013 on the consequences of this crucial event and evaluate the impact and influence that the Covid-19 pandemic had on human life through the pervasive presence of sound.<\/p>\n

program<\/h5>\n
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9:30\u2009\u2014\u200910:00<\/span><\/div>\n<\/div>\n
\"plus\"<\/span><\/div>\n<\/div>\n
\n
\n

Institutional greetings and introductory remarks<\/h5>\n<\/p>\n

Gianmario Borio Director<\/strong>,<\/p>\n

Institute of Music, Fondazione Giorgio Cini<\/p>\n

Giovanni Giuriati Director<\/strong>,<\/p>\n

Intercultural Institute for Comparative Music Studies, Fondazione Giorgio Cini<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n
\n
\n
10:00\u2009\u2014\u200912:00<\/span><\/div>\n<\/div>\n
\"plus\"<\/span><\/div>\n<\/div>\n
\n
\n

Institutional greetings and introductory remarks<\/h5>\n<\/p>\n

Giulia Sarno and Daniele Palma<\/strong><\/p>\n

Tracing the medium-term impact of COVID on musical practices, participation, and research methods. A collaborative investigation<\/p>\n

<\/p>\n

Melanie Wald-Fuhrmann<\/strong><\/p>\n

Balcony singing, courtyard concerts and splitscreen performances. Which COVID forms of musicking are here to stay?<\/p>\n

<\/p>\n

Cecilia Balestra<\/strong><\/p>\n

Creativity, live music programming, and target audiences. Ongoing changes and strategies, from a national and international perspective<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n

\n
\n
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12:00\u2009\u2014\u200915:00<\/span><\/div>\n<\/div>\n
\"plus\"<\/span><\/div>\n<\/div>\n
\n
\n

Lunch break and visit to the exhibition \u2018Venezia e le epidemie\u2019<\/h5>\n<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n

 <\/p>\n

\n
\n
\n
15:00\u2009\u2014\u200918:00<\/span><\/div>\n<\/div>\n
\"plus\"<\/span><\/div>\n<\/div>\n
\n
\n

<\/h5>\n<\/p>\n

Marie Louise Herzfeld-Schild<\/strong><\/p>\n

Sounding sickscapes: pandemic musicking across time<\/p>\n

<\/p>\n

Daniel Margolies<\/strong><\/p>\n

Communitarianism, intimacy, and wellbeing in Latin American musical responses to the COVID and after<\/p>\n

<\/p>\n

Roberto Prosseda<\/strong><\/p>\n

The transformation of the \u2018live performance\u2019 concept following online experiences during COVID.<\/p>\n

New paradigms in classical music engagement and pedagogy in the post-pandemic era<\/p>\n

<\/p>\n

Ilaria Meloni<\/strong><\/p>\n

\u201cHypervisible\u201d voices: digital media, gender, and power in post-pandemic Javanese Shadow Puppet Theatre<\/p>\n

Final Discussion<\/p>\n<\/div>\n<\/div>\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"author":3,"featured_media":117097,"template":"","meta":{"_acf_changed":false,"footnotes":""},"cini_tax_event_categories":[1467],"cini_tax_institutes":[1435],"cini_tax_event_locations":[1464],"class_list":["post-117099","cini_events","type-cini_events","status-publish","has-post-thumbnail","hentry","cini_tax_event_categories-convegni-e-seminari","cini_tax_institutes-institute-of-comparative-music","cini_tax_event_locations-island-of-san-giorgio-maggiore"],"acf":[],"yoast_head":"\nMusic and sound after Covid-19. 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