#STRAYHORN2.0: An Interdisciplinary Symposium Celebrating the Centennial of Billy Strayhorn

#STRAYHORN2.0: An Interdisciplinary Symposium Celebrating the Centennial of Billy Strayhorn
Cleveland State University, November 20–21, 2015
William “Billy” Strayhorn (1915–67) achieved international recognition as one of the greatest American-born composers and pianists of the 20th century. A native of Dayton, Ohio, Strayhorn spent most of his formative years in Pittsburgh, Pennsylvania, where he attended the public schools, studied privately, and distinguished himself as a gifted keyboard artist. Many remember Strayhorn as Duke Ellington’s trusted colleague, a member of the Ellington Orchestra, and the composer of many of the group’s signature works, including “Take the A Train” and “Satin Doll.” However, less is known about his work prior to the Ellington collaborations and his recordings with other artists during his tenure with the Ellington Orchestra.
The list of possible presentation topics for the #STRAYHORN2.0 SYMPOSIUM includes, but is not limited, to Strayhorn’s education; personal life (i.e. his childhood and challenges associated with being an openly gay man); environmental influences (i.e. Strayhorn and the Harlem Renaissance, Strayhorn and modernism); compositions and arrangements; discography; performance study; musical influence and legacy; Ellington-Strayhorn collaborations (i.e. issues of authorship); Strayhorn and other musicians; filmography; multi-media, and new media projects.
Scholars, performing artists, and other professionals are invited to submit 350-word proposals and a short biography by May 10, 2015 to the conference organizers Michael Baumgartner and Regennia N. Williams (both Cleveland State University):
Decisions regarding submissions will be announced by June 10, 2015. Participants will be invited to revise their papers for possible publication in an edited volume.  Keynote speaker, concerts, exhibition, and other events around the symposium TBD.

Sacred Songs: Religion, Spirituality and the Divine in Popular Music Culture

Institute of Contemporary Music Performance, London UK.

Thursday 30th July 2015.

Sacred Songs: Religion, Spirituality and the Divine in Popular Music Culture

The University of Central Lancashire, the Institute of Contemporary Music Performance and the University of Chichester are pleased to invite submissions of proposals for the symposium The Sacred in Popular Music that will take place at The Institute of Contemporary Music Performance on Thursday 30th July 2015.

The conference committee invites all academics and university professionals, composers, musicologists and practitioners with a special interest in the relationship between the sacred and popular music to submit proposals related specifically to this issue.

We are especially interested in the variety of approaches to the subject, and these may include, but not restricted by:

  • Role of religion in lives of artists within the popular music genre
  • The incorporation of popular music in sacred ceremonies
  • Religious metaphor in popular music
  • Incorporation of religion within popular music practice
  • Fandom as a form of worship
  • Divinity and rock stardom (rock stars’ homes as sites of pilgrimage, etc)
  • Pop memorabilia as holy relics

Presentations may consist of individual papers (20 minutes) and lecture-recitals (40 minutes).

Those interested are encouraged to send proposals up to 500 words (excluding musical examples) via email to Georgina Gregory or Mike Dines at GGregory@uclan.ac.uk or mike.dines@icmp.co.uk. Please include one page of biography.

In addition, proposals should also include the following details:

  • Full title of the paper
  • Full name, contact details (email address, telephone number, postal address), and institutional affiliation (if any)
  • Audio/visual requirements

The committee’s decision will be announced by the beginning of July at the latest.

RMA Music and Philosophy Study Group Conference

London, 17–18 July 2015

The Fifth Annual Conference of the RMA Music and Philosophy Study Group will take place on Friday 17th and Saturday 18th July 2015 at King’s College London.  The conference is being co-hosted by the Departments of Music and Philosophy at King’s College London and the Institute of Musical Research, University of London.  It is being held in collaboration with the Music and Philosophy Study Group of the American Musicological Society and De Musica – Laboratório de Estética e Filosofia da Música in Brazil.

Confirmed keynote speakers include: Christopher Peacocke (Columbia) and Kay Kaufman Shelemay (Harvard University).  Confirmed plenary panelists are Mark Evan Bonds (University of North Carolina at Chapel Hill), Simon Frith (University of Edinburgh) and Hannah Ginsborg (University of California, Berkeley).

The call for papers has closed; however, further details of the conference are available at www.musicandphilosophy.ac.uk/conference-2015.

The event is generously supported by King’s College London, the Institute of Musical Research, Trinity Laban Conservatoire of Music and Dance, the University of Hull, the British Society of Aesthetics, the Royal Musical Association, and Mind Association.

Minimalism Unbounded! The Fifth International Conference on Minimalist Music, Turku and Helsinki, September 2015

24–27 September 2015

Organised jointly by the University of Turku in Turku and the Sibelius Academy (University of the Arts) in Helsinki

In this conference we will encourage new debates about the sounds and cultural meanings of minimalist music.

Usually associated with the North American style propagated since the 1960s by composers like Steve Reich, Philip Glass, Terry Riley and La Monte Young, the influence of minimalism on musical life and cross-arts practices extends beyond these now canonical figures and arguably also predates them. This conference will continue to direct focused attention towards the core repertory, but will also encourage work which challenges our assumptions about the boundaries of the style and its significance.

Minimalism Unbounded! will focus above all on the relevance of the minimalist style in the 21st century. The influence of minimalism is especially evident in music performed in multimodal and cross-artistic settings, including film, musical theatre, sound, installation and performance art. It has disseminated and transformed beyond its reductive origins in the musical avant-garde and is today heard in diverse settings, some of them recognisably postminimalist, informed by environmental concerns, inspired by spiritual or mystical ideas, and permeating popular styles and forms including film scores, ambient and drone music, glitch and IDM.

We cordially invite submissions on a broad range of topics representing different disciplinary and interdisciplinary approaches. We welcome musicologists and composers, cultural theorists and philosophers, inter-arts researchers and music theorists with a view to stimulating lively debate about the past and current state of the art in minimalist music and cognate artistic practices.

We especially welcome work which

  • extends our understanding of minimalism as a sonic, social and cultural practice in the 21st century
  • offers new perspectives on the core minimalist repertory
  • opens new pathways to understanding minimalism as a musical and cross-arts phenomenon, especially how the style has migrated between genres, media and forms
  • offers new perspectives on the different traditions and influences on the style, including precursors of minimalism
  • sheds new light on minimalism in the Nordic region
  • discusses examples of postminimalism which have taken the style in new directions, including drone music and music that draws on alternative tuning systems
  • addresses the rich terrain of intersections of minimalism with popular music and culture, ranging from pop art to IDM.

Conference website: http://www.utu.fi/minimalism

Keynote speakers (details to be posted later)

  • Robert Fink
  • Jelena Novak

Guest composer (details to be posted later)

  • Kyle Gann

Programme committee

  • John Richardson (Chair)
  • Susanna Välimäki (Vice-Chair, University of Turku)
  • Juhani Nuorvala (Vice-Chair, Sibelius Academy)
  • Petri Kuljuntausta
  • John Pymm
  • Pwyll ap Siôn

Registration

The conference fee includes participation in the conference, lunch and other refreshments, the conference programme, a book of abstracts and other relevant material, transportation between Turku and Helsinki, and admission to concerts.

Conference participation fee

  • members of the Society for Minimalist Music: 120€
  • delegates who are not members of the Society for Minimalist Music: 150€
  • University of Turku and Sibelius Academy students (not including food and refreshments): 20€
  • conference dinner (not included in the registration fee): 40€

Proposals for individual papers, sessions and workshops should be submitted using the online form at this address: www.utu.fi/minimalism-unbounded

All proposed papers, panels, workshops and posters will be subject to peer review. Proposals for individual presentations should not exceed 20 minutes in length with an additional 10 minutes allocated for questions and discussion. Panel proposals should be for a maximum of 90 minutes, workshops a maximum of 120 minutes. Proposals will be accepted only via the online portal.

  • Deadline for proposals: March 30th
  • Applicants will be notified of the programme committee’s final decisions by May 15th, 2015

Minimalism Unbounded! will be a dynamic academic and cultural event staged in two cities, Turku and Helsinki. It will include performances of recent and older music, workshops for composers, public talks and debates, and high-level academic presentations and discussions.

The first two days of the conference will take place at the University of Turku, situated in the beautiful city of Turku on the country’s south west coast, a major cultural centre and the former capital of Finland; the final two days will take place at the Sibelius Academy, in Helsinki’s state of the art Music Centre. Travel between the two locations is included in the conference fee (the journey takes approx. 2 hrs). The organisers will post information about travel and accommodation in good time prior to notifications of accepted papers and sessions.

The conference is organised jointly by the Department of Musicology at the University of Turku and the Sibelius Academy in Helsinki. It is supported by the Society for Minimalist Music and the International Institute for Popular Culture at the University of Turku.

Contact email: minimalism@utu.fi

What does democracy sound like? Actors, Institutions – Practices, Discourses

International Conference, 5th-7th November 2015, Philharmonie de Paris

Partners:
L’Ecole des hautes études en sciences sociales Paris (Centre de recherches sur les arts et le langage & Centre Georg Simmel); Centre Marc Bloch Berlin; Palazzetto Bru Zane Venice; Center for Worldmusic Hildesheim; Philharmonie de Paris

With the question ‘What does democracy sound like?’, this jointly organised German-French conference intends to open up a space for discussing conceptions and potential functions of music within democratic societies. In research, relations between music and politics were especially closely intertwined thought in official representations of feudal societies and in the context of the ideological instrumentalization of music in totalitarian regimes. Considering this, it appears that the relationship between music and politics can carry dangerous, or at least problematic implications. This relationship seems to be also difficult with regard to the (unquestioned) necessity of autonomy and the principle of artistic freedom. In contrast to this stands the positive power of music, as represented by its potential for use in resistance, protest and liberation movements and its mobilization within processes of community and identity building. Instead of viewing these differing perspectives as contradictory, this conference aims to consider them as an expression of the complexity of the relationships between musical practices and diverse conceptions of collective action and social groupings.

In both historical and anthropological approaches, various forms of musical practices, discourses and social groupings (state, regional and local communities, clubs and interest groups etc.) within democratic societies come into consideration here:

How can it, for example, be explained that music often acts as a means of representing a society as being free and equal, i.e. as a medium for the shaping of society? What prerequisites and intentions underlie the understanding of music as social ‘common property’? In how far are different actors/experts (researchers, members of various interest groups or also militant associations) involved in the process of legitimating state intervention in various musical spheres (artistic production, mediation, education, construction of musical spaces)? Also to be discussed are terms such as ‘culture’, ‘music’, ‘society’, ‘the people’ etc., which struggle for definitionwithin the continualinterplay of societal legitimation and contradiction. Musical practice, when viewed in relation to the term ‘democracy’–which shouldalso be problematized with regardtoits social and political processes of mediation – demands an openness of approach. Indeed, the term ‘democracy’ is instinctively connected to unifying societal ideals and political norms, yet the practical implementation of this concept clearly varies according to time and place.

In order to bring this variation to attention, the conference will take on a longue duréeperspective and trace ideas of democratic thinking in music – with its continuities and gaps – from its first appearance (late 18th/early 19th century) up to the present day. The examples of France and Germany can be taken as a starting point but the focus should by no means be restricted to them. Rather, points of reference between different countries and cultural contexts should be drawn upon and produced.

On the basis of these initial questions, contributions to one or more of the following key areas are welcome:

Music and State: music-related cultural and educational policies; debates on societal representation and participation; institutionalization processes; etc.

History of Ideas: historical milestones in the development of concepts of ‘music and democracy’; processes of mobilization and stabilization as well as controversies surrounding related concepts (musical autonomy, representation, cultural diversity, etc.); the construction of musical hierarchies and genres; etc.

Creativity and Politics: debates on the definition and diversity of the terms ‘culture’ and ‘music’ from the viewpoint of artists (social culture, culture for everyone, etc.); conceptions of society and politics that underlie musical practices; politically motivated music; etc.

Space and Reception: construction of musical spaces and events in democratic societies (concert halls, festivals, conservatoires, radio, etc.); social and symbolic dimensions of architectonic conceptions and localizations in space; debates on social responsibility and the financing of musical spaces and events; etc.

Musical Publics: practices and contexts of listening and reception; concepts of ‘the public’ (elite, mainstream, masses, listeners, audiences, fans, etc.); means of constructing and representing the public (statistics, expert studies, market analysis, self-organization, medialization); etc.

By inviting contributions that concern themselves with various historical and geographic situations and that are orientated around different points of access to the topic (different actors, institutions, practices, discourses), the conference intends to open a forum in which the variety of perspectives on this theme can be taken into account. The aim is to consider the relationship between music and politics in all its complexities and different manifestations in democratic societies.

Contributions from a broad range of humanities and social science disciplines are welcome (History, Anthropology, Musicology, Ethnomusicology, Political Sciences, Sociology, DevelopmentalStudies/Pedagogy, Theatre Studies, etc.).
The conference languages are French, German and English.

Proposals (abstract max. 2000 characters, CV max. 500 characters) should be sent by 15th May 2015 at the latest to the following address: musikdemokratie@gmail.com.
Notifications of acceptance will be sent out by 30th June 2015 and the conference programme published online at www.musikdemokratie.wordpress.com.
We look forward to receiving your proposals!

Members of the scientific committee:

Philip Bohlman, Esteban Buch, Annegret Fauser, Wolfgang Fuhrmann, Antoine Hennion, Denis Laborde, Karine Le Bail, Julio Mendívil, Olivier Roueff, Patrice Veit, Raimund Vogels, Sarah Zalfen, Hansjakob Ziemer

Organizers:

Talia Bachir-Loopuyt (Université Jean-Monnet), Etienne Jardin (Palazzetto Bru-Zane), Christina Kaps (Humboldt-Universität zu Berlin), Elsa Rieu (Ecole des Hautes Etudes en Sciences Sociales Paris), Lena van der Hoven (Max-Planck-Institut für Bildungsforschung)

FOR CRYIN’ OUT LOUD: Music and Politics

Call for Papers
FOR CRYIN’ OUT LOUD: Music and Politics
Utrecht, 6-8 September 2015
(Gaudeamus and Utrecht University)

Music has always been inextricably bound up with society. Philosophical debates about the affect and ethicality of music date back to the Politeia, where Plato discussed the corrupting and moralizing powers of music on the soul, its ability to instigate certain behaviour that needed to be regulated by the state.

In his recent book Composing Dissent, Robert Adlington discusses Dutch composed music of the sixties within its political context. Composers including Peter Schat and Louis Andriessen were involved in protest groups, campaigns directed against established musical institutions and the formation of innovative types of ensembles. With their music, they were actively (re)acting on society.

In Sound, Music, Affect: Theorizing Sonic Experience, Marie Thompson and Ian Biddle discuss the influence of popular music in the 2010-11 riots that occurred in response to plans for public spending cuts and tuition increases in the UK. The music ‘that was mobilizing the protesters had no overt political content’ and therefore, according to the media, was not ‘political’. However, its role during the protests did not lie in musical semantics, but in its mobilizing capacity, its power to connect, install a sense of collectivity, its energy and its usage in a particular space.

These are only a few examples of music’s role within and society. Yet, in particular, composers and musicians in the realm of ‘contemporary classical music’ have been accused of losing contact with society. Their political commitment and involvement with society seems to be more and more disconnected. This does not mean that music nowadays is not deeply rooted in society, less reflective, or non-ethical. On the contrary, as Marcel Cobussen and Nanette Nielsen argue in Music and Ethics, ‘[m]usic contributes to a better understanding of one’s place within the world, and (thus) to an ethical sensibility’ and ‘[t]he role, function and position of music in contemporary society exceed the aesthetical realm; music has more to offer to humanity than various kinds of aural entertainment, or of beauty for beauty’s sake. Alongside its social, religious, political and economic roles, music is also an active participant in ethical concerns’.

The conference FOR CRYIN’ OUT LOUD: Politics, organised by Gaudeamus Muziekweek and the musicology department of Utrecht University, will address
the interplay between music and society. How does the one reflect/react/influence the other and vice versa? Can music be political? Confirmed keynote speaker is dr. Robert Adlington (University of Nottingham).

Academics, practitioners (composers, sound artists and designers, performers and musicians), as well as postgraduate students are invited to submit proposals for papers (max. duration of 20 minutes). Academic as well as artistic contributions can be accepted. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address, title of presentation, abstract (300 words max.), a short CV, and a list of technological requirements (overhead, power point, etc).

All proposals must be submitted by 15 April 2015 to
e.wennekes-AT-uu.nl

The conference will contain a concert program. Events will be announced in the build-up to the conference.

Conference committee
Prof. dr. Emile Wennekes (Utrecht University; Music and Media Study Group,
International Musicological Society)
Dr. Robert Adlington (University of Nottingham)
Dr. Marcel Cobussen (Leiden University; Journal of Sonic Studies)
Stefan Prins, PhD (Composer)
Jan Nieuwenhuis (Gaudeamus Muziekweek; Journal of Sonic Studies)

Musical Modernity, the Beautiful and the Sublime

Call for Papers

Conference: Musical Modernity, the Beautiful and the Sublime

The University of Aberdeen and the SOUND festival, Aberdeen, Scotland.
30-31st October 2015

http://www.abdn.ac.uk/music/musical-modernity-the-beautiful-and-the-sublime-468.php

Theodor Adorno noted the difficulty of creating new art that can be beautiful in a truthful way, eschewing any response to musical modernity that would allow its easy assimilation in terms of the traditionally beautiful. For Jean-François Lyotard, the arts for the last century have no longer been concerned primarily with the beautiful but rather with a renewed concept of the sublime. This dissociation of the beautiful from the modern in Adorno and Lyotard contrasts strikingly with Helmut Lachenmann’s revalorisation of the beautiful and his distinction of ‘humanity’s legitimate and profoundly rooted demand for art as the experience of Beauty, and its false satisfaction and alienation in the form of art “fodder” manufactured by the bourgeoisie and preserved in a society of repressed contradictions’ (Lachenmann 1980, 20). Out of this polarity of the modern as the moment of the sublime (Lyotard) and the possibility of a ‘rescued’ concept of the beautiful (Lachenmann), participants are invited to offer twenty minute papers on any aspect of musical modernity in relation to the beautiful and/or the sublime. The sublime has become a rich source of reflection in critical theory, with alternative conceptualisations from Lyotard, Derrida, Lacan, Zizek, Marion and others, and following Simon Morley’s categorisation, the contemporary sublime has been related to the unpresentable, transcendence, nature, technology, terror, the uncanny and altered states. While the sublime has not enjoyed attention in music studies comparable with what it has stimulated elsewhere in the humanities, this conference will provide a forum for musicological, theoretical and philosophical reflection in conjunction with a series of musical performances.

Proposals considering any of the following are welcomed:

. Musicological papers considering any aspect of modern/contemporary music in relation to the sublime and/or the beautiful.
. Philosophical/Critical theory papers developing thinking on the beautiful and/or the sublime in relation to any aspect of musical modernity.
. Philosophical/Critical theory papers which do not deal explicitly with music but which develop thinking on the sublime and the beautiful in ways that may relate interestingly to musical modernity.
. Papers considering musical modernity, politics and the sublime.
. Papers considering the extent to which musical modernity concerns the sublime (Lyotard) or a reconstituted notion of beauty (Lachenmann).

Abstracts should be c. 400 words and should also contain first and last name of presenter, title of proposed presentation, institutional affiliation, mailing address, telephone number and email address.

Proposals must be received no later than 20th April 2015 and should be posted to e.campbell@abdn.ac.uk.

Proposals will be blind reviewed by two or three members of the conference committee, depending on the areas covered in the proposal. Notification of acceptance will be sent to applicants by 31st May 2015.

Keynote Speakers: tba

Featured Composers: tba but including Brice Pauset

Confirmed performers include: Ensemble Alternance (Paris, France) and Ian Pace (piano)

Conference Committee:
Edward Campbell
Fiona Robertson
Pete Stollery
Chris Fynsk
Peter Nelson
Björn Heile
Phillip Cooke
Suk-Jun Kim

Mikis Theodorakis : poésie, musique et politique/ Mikis Theodorakis: Poetry, Music, and Politics

Université Paris-Sorbonne, 18-20 juin 2015

Colloque international organisé par l’Université Paris-Sorbonne et l’Institut de Recherche en Musicologie (CNRS UMR 8223), en partenariat avec MUSIDANSE (EA 1572 – université Paris 8) et le CRAL-EHESS (CNRS UMR 8566), avec le soutien du Centre culturel Hellénique, de la Fondation Hellénique et de l’Institut de Politique Éducative de Grèce.

Argument

Né en 1925, Mikis Theodorakis est sans aucun doute le compositeur grec le plus populaire de son époque et jusqu’à aujourd’hui. Homme engagé de gauche, penseur et poète, il fut aussi ministre et député au Parlement grec, mais surtout activiste pour la paix et pour la démocratie. Son œuvre, son action et sa pensée marquent de façon significative plusieurs combats sociaux et politiques de toute la seconde partie du xxe siècle, ainsi que, sur le plan artistique, la nécessité de fonder une musique contemporaine grecque, à la fois savante et populaire.

Son action, qui commence pendant la Seconde Guerre Mondiale, est ensuite ancrée dans la vie politique interne de la Grèce à travers la Guerre Civile, l’organisation des « Jeunesses Lamprakis », la dictature des Colonels jusqu’au « Mouvement des Citoyens Indépendants Spitha » (« Etincelle ») qu’il a fondé plus récemment. La musique et la politique – les deux engagements complémentaires qui déterminent sa vie et qui reflètent sa personnalité dynamique – sont à l’origine de son aura qui dépasse rapidement les frontières grecques, et le propulsent en tant que la « Voix de la Grèce » dans les monde.

Engagé depuis son plus jeune âge en faveur des grands idéaux humanistes – la Liberté, la Paix, la Démocratie –, il exprime ses idées et incite à la mobilisation et à la révolte aussi bien par ses écrits que par ses compositions musicales. Son engagement s’exprime également dans ses choix artistiques : ainsi Theodorakis défend dans son œuvre l’accès du peuple à des genres poétiques et musicaux perçus comme étant réservés à l’élite sociale. Inversement, il défend aussi l’introduction d’instruments (comme le bouzouki) et de styles populaires (comme le rebetiko) aux genres musicaux savants. Compositeur prolifique, il signe plus d’un millier de mélodies, dont plusieurs devenues extrêmement populaires, et qui fondent le genre très particulier et très fécond du entechno (la « chanson savante-populaire » grecque). Il est également l’auteur d’œuvres symphoniques et de chambre, de plusieurs hymnes et oratorios, de plus de dix ballets, de cinq opéras, et il a composé la musique de plus de cinquante œuvres théâtrales ou cinématographiques.

Emprisonné, torturé, exilé, Mikis Theodorakis a payé dans sa chair nombre de ses engagements, et c’est en France, qui l’accueille en 1970, où il organise son action de résistance, politique et musicale, contre la dictature des Colonels. Auparavant, un premier séjour à Paris dans les années 1950 l’avait notamment conduit au Conservatoire de Paris, dans les classes d’Olivier Messiaen et d’Eugène Bigot. Ainsi Theodorakis entretient-il une relation tout à fait singulière avec la France, tant dans sa vie artistique que militante.

Pour tous ses engagements, militants comme artistiques, Theodorakis, a été et est toujours adulé, admiré, célébré, mais aussi parfois critiqué (de surcroît, au cours des décennies, tantôt par une certaine droite que par une certaine gauche, par une partie du « peuple » ou certaines « élites », etc.).

Malgré sa diversité et sa richesse, force est de constater qu’à ce jour l’œuvre de Mikis Theodorakis a fait très peu l’objet d’études. Ainsi, l’ambition de ce colloque est d’aborder spécifiquement l’œuvre de Mikis Theodorakis en croisant les regards disciplinaires et de stimuler la réflexion critique, longtemps figée face à ce personnage singulièrement complexe, dense et riche.

De même, se plonger à nouveau dans l’œuvre theodorakienne à cette période de crise, et interroger sa valeur diachronique, est sans aucun doute la meilleure façon de rendre hommage au compositeur pour son 90e anniversaire.

Axes envisagés (propositions non limitatives) :

  • Poésie et musique dans l’œuvre de Mikis Theodorakis
  • Mikis Theodorakis et son engagement politique et social
  • La place de l’œuvre theodorakienne dans la littérature musicale contemporaine
  • Mikis Theodorakis et la France
  • Musique et dictature, musique et résistance, musique et torture à travers l’œuvre de Theodorakis

Les propositions de communication (titre et résumé d’environ 200 mots) accompagnées d’une courte notice biographique sont à envoyer avant le 15 mars 2015 par voie électronique à l’adresse : ColloqueTheodorakis2015@gmail.com

L’acceptation des propositions sera notifiée avant le 31 mars 2015

Langues du colloque : français et anglais. Des communications dans d’autres langues peuvent être acceptées à condition qu’une traduction en français soit remise à la disposition du comité d’organisation avant le 12 juin 2015.

Comité d’honneur :

Costa Gavras, réalisateur

Angelique Ionatos, chanteuse-compositrice

Asteris Koutoulas, écrivain, traducteur et réalisateur

Vasso Papantoniou, artiste lyrique, directrice de la Société pour la maison de l’opéra et de l’académie d’Art lyrique « Maria Callas », Athènes

Arja Saijonmaa, chanteuse et comédienne

Margarita Theodorakis, directrice des Editions Romanos et de l’Οrchestre populaire Mikis Theodorakis, fille du compositeur

Vassilis Vassilikos, écrivain

Nena Venetsanou, chanteuse-compositrice

Comité scientifique :

Christophe Corbier, CR CNRS – EHESS CRAL

Jean-Marie Jacono, MCF, université d’Aix Marseille

Paloma Otaola, Professeure, université de Lyon

Théodora Psychoyou, MCF, IReMus – Paris-Sorbonne

Makis Solomos, Professeur, MUSIDANSE – université Paris 8

Kalliopi Stiga, Docteure en musicologie, Institut de Politique Éducative de Grèce

Comité d’organisation :

Théodora Psychoyou · IReMus, Paris-Sorbonne, Mado Spyropoulou · Sorbonne Nouvelle – Paris 3, Kalliopi Stiga · Institut de Politique Éducative de Grèce

Paris-Sorbonne university, 18-20 June 2015

International conference organised by Paris-Sorbonne university and the Institut de Recherche en Musicologie (CNRS UMR 8223), in collaboration with MUSIDANSE (EA 1572 – University Paris 8) and the SARC-EHESS (CNRS UMR 8566), with the support of the Centre culturel Hellénique à Paris, of the Fondation Hellénique, and the Institute for Educational Policy of Greece

Outline

Born in 1925, Mikis Theodorakis is undoubtedly the most popular Greek composer of his time. A leftist politically-committed thinker and poet, he has also been Minister and a Member of the Greek Parliament, but above all he features as an activist for peace and democracy. His work, actions and thoughts had a significant impact on the social and political struggles that marked the second half of the twentieth century. Artistically speaking, his activities aimed at fostering a Greek contemporary music that would combine both art music and popular music devices.

His action begins during the Second World War. Since then, the name of Theodorakis remains anchored in the Greek political life, through the civil war, the organisation of the “Lamprakis Youth”, the military dictatorship and, more recently, the creation of the “Movement of Independent Citizens Spitha” (“Spark”).

Music and politics – two complementary commitments that characterize his life and personality – created a charismatic aura that rapidly exceeded the Greek boundaries, propelling him as the “Voice of Greece” throughout the world. Since his youngest years, Theodorakis got involved in the defence of great humanistic ideals such as Freedom, Peace, and Democracy; mobilization and revolt were encouraged and emulated through both his writings and his music. Thus, his artistic choices also bear the stamp of a highly personal commitment. In his work, Theodorakis defends the access for the common people to sophisticated poetic and musical genres, which were then perceived as exclusively intended to a social elite. Conversely, he also advocates the introduction of popular instruments (such as the bouzouki) and popular styles (such as the rebetiko) into Western classical genres.

A prolific composer, Theodorakis has a thousand melodies to his credit, many of which became extremely popular, creating the very particular and fruitful genre of the entechno (an erudite-popular Greek song). He has also penned symphonic and chamber music works, as well as several hymns and oratorios, more than ten ballets, five operas, and over fifty incidental music and film music scores.

Imprisoned, tortured and exiled due to many of his political commitments, Mikis Theodorakis has suffered in his flesh. It is from France, a country that hosted him in 1970, that he organized his political and musical actions against the Greek military junta. A first stay in Paris two decades earlier (1950s) had led him notably to the Paris Conservatoire, in the classes of Olivier Messiaen and Eugène Bigot. Thus Theodorakis seems to have a quite singular relationship with France, both as an artist and as an activist.

For many of his commitments, either on a political or an artistic level, Theodorakis was, and still is revered, admired, celebrated ; but he was also criticized over the past decades, sometimes by some Right-wing sensibilities or Left-wing sensibilities, sometimes by a part of the “people” or a fraction of the elite.

Despite its diversity and richness, the work of Mikis Theodorakis has not yet been enough scholarly studied. Consequently, the aim of this symposium is to focus specifically on the work of Mikis Theodorakis, through cross-disciplinary perspectives and, critical and scholarly thinking that has often been static and out of phase with this singularly complex, dense and rich character.

Similarly, delving back into the specific work of Mikis Theodorakis during this time of crisis, and questioning its diachronic value, is undoubtedly the best way to pay a tribute to the composer for his 90th birthday.

Proposed topics (unexhaustive list)

  • Music and poetry in the work of Mikis Theodorakis
  • Mikis Theodorakis and his social and political commitment
  • Theodorakis work within the contemporary musical literature
  • Mikis Theodorakis and France
  • Music and dictatorship, music and resistance music and torture through the work of Theodorakis

Paper proposals must include a title, an abstract (about 200 words), and a brief biographical statement. The deadline for submission is March 15, 2015. Proposals should be sent by mail at: ColloqueTheodorakis2015@gmail.com

The decision of the programme committee will be notified by March 31, 2015

Conference languages: French and English. Papers in other languages may be accepted, provided that a translation in French is submitted to the organising committee before June 12, 2015.

Honorary committee:

Costa Gavras, film director

Angelique Ionatos, songwriter, guitarist and singer

Asteris Koutoulas, author, translator and film director

Vasso Papantoniou, lyric artist, director of the Society for an opera house and Lyric art academy “Maria Callas”, Athens

Arja Saijonmaa, singer, actress and activist

Margarita Theodorakis, director of Romanos editions and of the Popular orchestra Mikis Theodorakis, composer’s daughter

Vassilis Vassilikos, writer

Nena Venetsanou, songwriter and singer

Scientific/programme committee:

Christophe Corbier, CR CNRS – EHESS CRAL

Jean-Marie Jacono, university of Aix Marseille

Paloma Otaola, university of Lyon

Théodora Psychoyou, IReMus – Paris-Sorbonne university

Makis Solomos, Professeur, MUSIDANSE – Paris 8 university

Kalliopi Stiga, Institute for Educational Policy of Greece

Organising committee:

Théodora Psychoyou (IReMus, Paris-Sorbonne), Mado Spyropoulou (Sorbonne Nouvelle – Paris 3), Kalliopi Stiga (Institute for Educational Policy of Greece)

 

Thirteenth Annual Plenary Conference of the Society for Musicology in Ireland

Link

University College Cork

12–14 June 2015

[Deadline: 31 March 2015]

 

Musicology in Progress…

Keynote address: Nicholas Cook (1684 Professor of Music, University of Cambridge),

“The imaginary African: music, identity, and race”

In this conference, we come together to share our current research, our personal musicologies in progress. We also seek opportunities to reflect, in and around the programme, on the state of musicological enquiry more generally. Musicology is itself a work in progress, with recent discoveries heaped ever higher upon the ground bass of its enduring concerns, with the expanded timbres offered by new materials and approaches, and with the heady call-and-response of habitual practice vs. emergent subjectivities. In all this we’re meanwhile surrounded by others—inside and beyond the academy—who are every bit as actively taking up the challenge of explaining music as a vital facet of human experience. And as scholars we’re increasingly challenged to demonstrate how our work makes an impact in the wider world. So, we wish to discuss together how musicology leads to or springs from action that improves the human situation. What is our progress in that respect? We invite participants to consider submitting proposals that touch upon the notion of musicology in progress, and to take this opportunity to reflect on where we are now and where our next steps might take us.

Proposals are now welcome for papers (20 minutes’ duration) and panels (60/ 90 minutes) addressing any area, field or theme of musicology—broadly defined. Proposals may be submitted to smi2015cork@gmail.com (closing date: Tuesday 31 March 2015). Each proposal should contain:

– (each) speaker’s name, title, affiliation (where applicable) and contact email;

– an abstract summarising the paper or panel. Abstracts for individual papers should be c. 250 words in length; those for panels should be of similar proportion for each speaker;

– the proposal can be submitted in doc, docx or rtf format;

– we welcome proposals for research presentations that adopt other formats, including posters, performances, sound art, digital interventions, roundtables or films; abstracts for these should be similar in length to those already discussed.

Currently, we anticipate announcing the draft programme on Tuesday 28 April. If you need proof of earlier acceptance for visa or grant-related reasons, be sure to note that in your accompanying email.

Registration is now open at http://www.uccconferencing.ie/product/2015-annual-conference-society-musicology-ireland-june-12-june-14-2015/, with reduced rates for SMI members. Meanwhile, SMI membership can be taken out or renewed at http://www.musicologyireland.com/. A small number of free registrations are available to research students willing to work for up to 6 hours as conference assistant: contact smi2015cork@gmail.com (by 31 March 2015) for further information.

Mikis Theodorakis : poésie, musique et politique

Université Paris-Sorbonne, 18-20 juin 2015

Colloque international organisé par l’Université Paris-Sorbonne et l’Institut de Recherche en Musicologie (CNRS UMR 8223), en partenariat avec MUSIDANSE (EA 1572 – université Paris 8) et le CRAL-EHESS (CNRS UMR 8566), avec le soutien du Centre culturel Hellénique, de la Fondation Hellénique et de l’Institut de Politique Éducative de Grèce.
Argument

Né en 1925, Mikis Theodorakis est sans aucun doute le compositeur grec le plus populaire de son époque et jusqu’à aujourd’hui. Homme engagé de gauche, penseur et poète, il fut aussi ministre et député au Parlement grec, mais surtout activiste pour la paix et pour la démocratie. Son œuvre, son action et sa pensée marquent de façon significative plusieurs combats sociaux et politiques de toute la seconde partie du XXe siècle, ainsi que, sur le plan artistique, la nécessité de fonder une musique contemporaine grecque, à la fois savante et populaire.
Son action, qui commence pendant la Seconde Guerre Mondiale, est ensuite ancrée dans la vie politique interne de la Grèce à travers la Guerre Civile, l’organisation des « Jeunesses Lamprakis », la dictature des Colonels jusqu’au « Mouvement des Citoyens Indépendants Spitha » (« Etincelle ») qu’il a fondé plus récemment. La musique et la politique – les deux engagements complémentaires qui déterminent sa vie et qui reflètent sa personnalité dynamique – sont à l’origine de son aura qui dépasse rapidement les frontières grecques, et le propulsent en tant que la « Voix de la Grèce » dans les monde.
Engagé depuis son plus jeune âge en faveur des grands idéaux humanistes – la Liberté, la Paix, la Démocratie –, il exprime ses idées et incite à la mobilisation et à la révolte aussi bien par ses écrits que par ses compositions musicales. Son engagement s’exprime également dans ses choix artistiques : ainsi Theodorakis défend dans son œuvre l’accès du peuple à des genres poétiques et musicaux perçus comme étant réservés à l’élite sociale. Inversement, il défend aussi l’introduction d’instruments (comme le bouzouki) et de styles populaires (comme le rebetiko) aux genres musicaux savants. Compositeur prolifique, il signe plus d’un millier de mélodies, dont plusieurs devenues extrêmement populaires, et qui fondent le genre très particulier et très fécond du entechno (la « chanson savante-populaire » grecque). Il est également l’auteur d’œuvres symphoniques et de chambre, de plusieurs hymnes et oratorios, de plus de dix ballets, de cinq opéras, et il a composé la musique de plus de cinquante œuvres théâtrales ou cinématographiques.
Emprisonné, torturé, exilé, Mikis Theodorakis a payé dans sa chair nombre de ses engagements, et c’est en France, qui l’accueille en 1970, où il organise son action de résistance, politique et musicale, contre la dictature des Colonels. Auparavant, un premier séjour à Paris dans les années 1950 l’avait notamment conduit au Conservatoire de Paris, dans les classes d’Olivier Messiaen et d’Eugène Bigot. Ainsi Theodorakis entretient-il une relation tout à fait singulière avec la France, tant dans sa vie artistique que militante.
Pour tous ses engagements, militants comme artistiques, Theodorakis, a été et est toujours adulé, admiré, célébré, mais aussi parfois critiqué (de surcroît, au cours des décennies, tantôt par une certaine droite que par une certaine gauche, par une partie du « peuple » ou certaines « élites », etc.).
contact : ColloqueTheodorakis2015@gmail.com

APPEL À COMMUNICATIONS
Malgré sa diversité et sa richesse, force est de constater qu’à ce jour l’œuvre de Mikis Theodorakis a fait très peu l’objet d’études. Ainsi, l’ambition de ce colloque est d’aborder spécifiquement l’œuvre de Mikis Theodorakis en croisant les regards disciplinaires et de stimuler la réflexion critique, longtemps figée face à ce personnage singulièrement complexe, dense et riche.
De même, se plonger à nouveau dans l’œuvre theodorakienne à cette période de crise, et interroger sa valeur diachronique, est sans aucun doute la meilleure façon de rendre hommage au compositeur pour son 90e anniversaire.
Axes envisagés (propositions non limitatives) :

– Poésie et musique dans l’œuvre de Mikis Theodorakis

– Mikis Theodorakis et son engagement politique et social

– La place de l’œuvre theodorakienne dans la littérature musicale contemporaine – Mikis Theodorakis et la France
– Musique et dictature, musique et résistance, musique et torture à travers l’œuvre de Theodorakis
Les propositions de communication (titre et résumé d’environ 200 mots) accompagnées d’une courte notice biographique sont à envoyer avant le 15 mars 2015 par voie électronique à l’adresse : ColloqueTheodorakis2015@gmail.com
L’acceptation des propositions sera notifiée avant le 31 mars 2015
Langues du colloque : français et anglais. Des communications dans d’autres langues peuvent être acceptées à condition qu’une traduction en français soit remise à la disposition du comité d’organisation avant le 12 juin 2015.
Comité d’honneur : Costa Gavras, réalisateur
Angelique Ionatos, chanteuse-compositrice

Asteris Koutoulas, écrivain, traducteur et réalisateur

Vasso Papantoniou, artiste lyrique, directrice de la Société pour la maison de l’opéra et de l’académie d’Art lyrique « Maria Callas », Athènes
Arja Saijonmaa, chanteuse et comédienne

Margarita Theodorakis, directrice des Editions Romanos et de l’Οrchestre populaire Mikis Theodorakis, fille du compositeur
Vassilis Vassilikos, écrivain

Nena Venetsanou, chanteuse-compositrice
Comité scientifique :

Christophe Corbier, CR CNRS – EHESS CRAL

Jean-Marie Jacono, MCF, université d’Aix Marseille Paloma Otaola, Professeure, université de Lyon Théodora Psychoyou, MCF, IReMus – Paris-Sorbonne
Makis Solomos, Professeur, MUSIDANSE – université Paris 8

Kalliopi Stiga, Docteure en musicologie, Institut de Politique Éducative de Grèce
Comité d’organisation :

Théodora Psychoyou • IReMus, Paris-Sorbonne, Mado Spyropoulou • Sorbonne Nouvelle – Paris 3, Kalliopi Stiga • Institut de Politique Éducative de Grèce

contact : ColloqueTheodorakis2015@gmail.com