Gina Emerson

Gina Emerson

Research Associate

Dr. Gina Emerson studied musicology in Oxford and Berlin, with a focus on music sociology and psychology. She received her doctorate from the Hochschule für Musik und Theater in Hamburg in 2020, with a thesis on the audience experience of contemporary classical music. For this, she worked in collaboration with the Ulysses Network from 2016 to 2020, conducting audience surveys at a range of institutions across Europe, including IRCAM, the Darmstadt Summer Course for New Music and the Ultima Festival. She is currently a Research Associate with the collaborative project 'Ein nachhaltiger Kulturauftrag für Musik - ein neuer Aspekt orchestraler Exzellenz', a joint initiative of RIFS and the Kammerakademie Potsdam. She is supporting the orchestra in developing a social-ecological sustainability strategy, whilst also exploring how classical music can build sustainable relationships with a range of communities and the role it can play in the wider sustainability discourse. She has been a member of the Art-Science Cooperations for Sustainability research group at RIFS since January 2022. She is also active as a project manager and curator in the field of contemporary music.

  • Since January 2022: Research Associate at RIFS
  • 2020 - 2021: Project management and curatorial work in contemporary classical music
  • 2016 - 2020: Doctoral studies at the Hochschule für Musik und Theater Hamburg (PhD in Musicology, June 2020), collaborative work with the Ulysses Network
  • 2016: Research Associate 3DMIN project, TU Berlin
  • 2015: M.A. in Musicology, Humboldt Universität zu Berlin
  • 2013: B.A. in Music, University of Oxford
  • Audience experience of contemporary and classical music
  • The sustainability discourse in orchestras/cultural institutions
  • Cultural participation
  • Adoption and reception of new technologies in art music contexts

Publications at the RIFS

Publications prior to joining the RIFS

  • Emerson, G. (2020). What Do Audiences Want? Data-Informed Curation for Diverse Audiences in New Music. OnCurating, 47, 39-43. Full Article.
  • Emerson, G., & Egermann, H. (2018). Exploring the Motivations for Building New Digital Musical Instruments. Musicae Scientiae. (Online First, 16.10.18).
  • Emerson, G., & Egermann, H. (2018). Gesture-Sound Causality from the Audience's Perspective: Investigating the Influence of Mapping Perceptibility on the Aesthetic Perception of New Digital Musical Instruments. Psychology of Aesthetics, Creativity, and the Arts, 12(1), 96-109.
  • Emerson, G. & Egermann, H. (2017). Mapping, Causality and the Perception of Instrumentality: Theoretical and Empirical Approaches to the Audience's Experience of Digital Musical Instruments. In Bovermann, T., de Campo, A., Egermann, H., Hardjowirogo, S-I. & Weinzierl, S. (Eds.). Musical Instrument Identities in the 21st Century: Identities, Configurations, Practices. Springer: Heidelberg.
  • Emerson, G. (2020). The Audience Experience of Contemporary Classical Music: Insights and Recommendations from a European Survey Study. Online lecture for field notes / INM Berlin.
  • Emerson, G. (2019). Between the 'Experimental' and the 'Accessible': Audience Diversity and Experiences with Contemporary Classical Music. GRiNM Network Conference 2019: Experiences with Gender and Diversity in Contemporary Music. Zurich, 14th-16th November 2019.
  • Emerson, G. (2019). Receiving the Contemporary: Investigating the Audience for Contemporary Classical Music. Audience Research in the Arts Conference. Sheffield, 3rd-5th July 2019.