How to approach the accessibility of new music to new audiences? How to entice people to get closer and discover without preconceptions or reluctance—but rather as a new form of participation and natural listening experience, what is often perceived as difficult music? What is the relationship of this music, if any, with contemporary arts in a way that it may grasp the attention and active involvement of the spectator and/or listener?

Sound and music seem to have been underwhelmingly part of contemporary museums. However, they are shyly making their way in the area of contemporary art, often via visual artists keen on using sound in their work or inviting musicians or sound-focused artists to collaborate. But how are visual arts curators situated both within and outside the boundaries of institutions, and how do galleries and museums deal with the increasing importance of sound? Does its lack of tangible value make it a less interesting art form and more of an ornament or add-on? Should there be a more conscious engagement and investment from those gatekeepers, or does the independent space and community thrive better without the conventional boundary of contemporary art?

This Libreta gathers curators who are engaged with performance art and music in particular, as well as making efforts to make institutions more aware of the importance and value of creating new audiences, finding inclusive rather than peripheral settings for aural experiences.

While musicians and artists must reach out and pull people in, it is also our calling as listeners to brave boundaries of prejudice or fear. We hope that this series of Libretas will open new sound territories to a broader audience.

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