The «théâtre musical léger» in Europe: From the Operetta to the Music-hall

http://www.luigiboccherini.org/operetta.html

Organized by

Centro Studi Opera Omnia Luigi Boccherini, Lucca

Palazzetto Bru Zane – Centre de musique romantique française, Venice

Lucca, Complesso Monumentale di San Micheletto

5-7 October 2015

The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane of Venice is pleased to invite submissions of proposals for the symposium «The théâtre musical léger in Europe: From the Operetta to the Music-hall», to be held in Lucca, Complesso Monumentale di San Micheletto, from Monday 5 until Wednesday 7 October 2015.

During the second half of the nineteenth century, the ‘official’ European performance venues were flanked by cabarets, music-halls and private spaces that welcomed new musical and theatrical genres. In Europe often miscellaneous venues hosted performances normally intended for the middle class.

In this scenario, the ‘operetta’ had a leading role. The term usually indicates different kinds of music theatre, which alternate singing and spoken language, such as opéra-bouffe, comédie musicale, music-hall performances (Madame Thérésa, Yvette Guilbert and Aristide Bruant in particular), revues (which then developed into the Italian rivista) and so forth, sometimes including ill-defined genres. Starting from the Second Empire, ‘operetta’, through a series of changes, was to arrive at the Broadway musical, often incorrectly called ‘American operetta’.

All the aforementioned varieties of entertainment have been explored in a few isolated studies, and have not received comprehensive scholarly exploration.

The programme committee encourages submissions within the following areas, although other topics are welcome:

  • The genres of the théâtre musical léger: operetta, revue, caf’conc’, music-hall, chanson réaliste and so forth.
  • Musical performing venues (production system, legislation, censorship, etc.)
  • Repertoire
  • The composers of the théâtre musical léger (Hervé, Offenbach, Gilbert & Sullivan, Lecocq, R. Hahn, Varney, Audran, Planquette, Lehár, Scotto, Sidney Jones, Leoncavallo, Lombardo-Ranzato and so forth)
  • Staging and mise-en-scène
  • Exoticism as scenic and sociological component
  • Entertainment system in the European countries

 Programme Committee:

  • Olivier Bara (Université Lyon2)
  • Étienne Jardin (Palazzetto Bru Zane, Venice)
  • Lorenzo Frassà (Centro Studi Opera Omnia Luigi Boccherini)
  • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)
  • Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)
  • Michela Niccolai, Conference director (Bibliothèque Historique de la Ville de Paris – ART)

Keynote Speakers:

  • Susan Rutherford (University of Manchester)
  • Olivier Bara (Université Lyon2)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. All proposals should be submitted by email no later than ***Sunday 10 May 2015*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of May 2015, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Roberto Illiano, conferences@luigiboccherini.org

http://www.luigiboccherini.org/operetta.html

The Art and Science of Improvisation

Dates: 8th-12th June 2015

Location: Stord/Haugesund University College, Stord, Norway

 

This Summer School is a collaboration between the two research schools NAFOL and Grieg Research School (GRS), and the hosting institution Stord/Haugesund University College (HSH).

The Summer School will offer a range of stimulating activities, workshops and presentations in addition the specific GRS course.

 

Invited speakers

Prof. Keith Sawyer (US), Dr. Laudan Nooshin (GB), Prof. Gert Biesta (Luxembourg), Prof. Colin Lee (Canada), Prof. Anna Lena Østern (Norway), Dr. Sigbjørn Apeland (Norway) and GAIMPRO (Norway).

 

GRS course

The GRS course will focus on candidate work. Ph.D. candidates and artistic research fellows are invited to present work in progress from the fields of music education, music therapy, musicology and music performance/creative practice.

For more information about the course, please visit the Summer School website.

 

Abstract submission:

Send the abstract to liv.qvale@uni.no

Deadline for submission of abstract: January 15th 2015

 

Registration opens February 1st

Link to registration form will then be found at the Summer School website

Registration closes March 1st 

 

Please contact us at liv.qvale@uni.no if you have any queries.

Between Universal and Local: From Modernism to Postmodernism

University of Ljubljana, Faculty of Arts, Ljubljana, 28–30 September 2015

Organisers:

Department of Musicology, Faculty of Arts, University of Ljubljana

Slovenian Musicological Society

Slovenian Academy of Sciences and Arts

Society of Slovene Composers, as a section of the ISCM

 

CALL FOR PAPERS

The Department of Musicology (Faculty of Arts, University in Ljubljana) is pleased to invite proposals for the international musicological conference Between Universal and Local: From Modernism to Postmodernism, to be held in Ljubljana at the end of September 2015 as part of the World Music Days Slovenia 2015. The conference is dedicated to the 80th anniversaries of composers Vinko Globokar and Lojze Lebič.

The second wave of Modernism emerged from the cataclysmic atmosphere that pervaded Europe at the end of the Second World War. It was a case of “ground zero”: the younger generation did not want to have anything in common with the spiritual and aesthetic humus from which 20th century totalitarianism had been able to grow; there was a need to start afresh and to erase the old. In art, this attitude was manifested in a radical break with the aesthetic and stylistic characteristics that had marked the decades prior to the outbreak of Nazism and fascism. In music, this marked the final break from traditional music “language” (Stephan, 1969), while suspicion was also cast on the “progressive heroes” of the 20th century, such as Arnold Schoenberg, whose work was declared imperfect and dead by Pierre Boulez in his renowned article Schönberg est mort (The Score, 1952). Composers sought to renounce precisely those aesthetic postulates that had most strongly marked the art of the previous decades: the prominence of subjectivity (which continues to resound in the Expressionist trust of the formal logic of the inner consciousness and in the literary technique of inner monologue) and with this the characteristic local and national marking and readability of musical semantics. In architecture, this was best exemplified by the International Style (as in musical modernism, its roots reach back to the 1920s and 1930s), which renounces ornamentation in favour of clear geometric structures in which all of the social functions of architecture are assumed to be hidden, while being completely insensitive to the local and contextual characteristics of the environment (thus its label “international”). A similar “desubjectification” and “universality” was also characteristic of musical serialism: in the case of integral serialism, it seems that the serial model takes over the majority of the decision-making roles, while the composer and his personal characteristics increasingly withdraw from composition (which is also probably why Boulez, in his composition Structures Ia, does not choose his own twelve-note row but instead borrows one from Messiaen). It is precisely for this reason that it is impossible to discover genuine stylistic differences or important local characteristics between modernists of diverse national provenances. To borrow Saussure’s famous division, one could say that music increasingly changed from parole to langue.

From the beginning of the 1970s, or from the historical turning point of 1968 (marked by the Prague Spring, the beginning of the Vietnam War, the Korean Crisis, the assassination of Martin Luther King, and student protests), which Baudrillard understands as the decline of political ideologies and their mutation from political content to empty signifiers (Baudrillard, 1976, 1981), the wheels again begin to turn in the other direction: the powerful de(con)structive will of modernism increasingly waivers, and the period after modernism – postmodernism – begins. This period defined itself very early on as the era of “double coding” (Jencks, 1977), the combining of the high and the low (Fiedler, 1969), the new and the old, as well as the simultaneous establishment (or “parallel constructing”; McHale, 1987, 1992) of the universal and the local. From works retaining a fundamentally modernist conception (in terms of material and approach), there is a gradual breakthrough of non-modernist “islands” of meaning, fragments, allusions, citations and “local” features.

In the last half of century, we have thus witnessed two radical turnarounds, two changes of “direction”, the alternate emphasis on and denial of the local and the universal. The conference will focus on questions related to the reasons for these turnarounds, their consequences and their implications. We welcome contributions that touch upon the following themes:

  • the theoretical and aesthetic points of departure of modernism and postmodernism;
  • the compositional-technical characteristics of the music of modernism and postmodernism;
  • the social and historical reasons for the aesthetic and social ruptures in the second half of the 20th century;
  • the specifics of modernism in individual European countries;
  • the relationship between the universal and the local in the music of the second half of the 20th century;
  • the question of the semantics of modern and postmodern music;
  • the subject in the music of modernism and postmodernism;
  • the reception of modern and postmodern music at the beginning of the 21st century;
  • modernism–postmodernism–globalism: relationships and attitudes in the music of recent decades;
  • modernist composers in the postmodern period;
  • outstanding modern and postmodern musical works.

We welcome original musicological and interdisciplinary research. The official language of the conference is English. Proposals (up to 400 words) for 20-minute papers and short biographical notes (up to 200 words) should be sent to the conference email address (musicological.conference.2015@gmail.com) by 1 March 2015 (receipt of proposals will be acknowledged by email). Proposals will be reviewed by the conference committee and the results will be announced by 1 April 2015. A selection of papers will be published. Conference fee: €25.00.

 

Organisational Committee:

Dr Gregor Pompe (president)

Dr Katarina Bogunović Hočevar

Nejc Sukljan

 

Conference Committee:

Dr Matjaž Barbo

Dr Gražina Daunoravičienė

Dr Nikša Gligo

Dr Kenneth Gloag

Dr Aleš Nagode

Dr Niall O’Loughlin

Dr Gregor Pompe

Dr Tijana Popović Mladjenović

Dr Cornelia Szabó-Knotik

Dr Michael Walter

Clementi and the British Musical Scene: 1780-1830

http://www.luigiboccherini.org/clementiconf.html

organized by

Centro Studi Opera Omnia Luigi Boccherini (Lucca)

In collaboration with
Ad Parnassum Journal

Italian National Edition of Muzio Clementi’s Works

24-26 November 2015
COMPLESSO MONUMENTALE DI SAN MICHELETTO – Lucca


The Centro Studi Opera Omnia Luigi Boccherini of Lucca, in collaboration with Ad Parnassum Journal and the Italian National Edition of Muzio Clementi’s Works, are pleased to invite submissions of proposals for the symposium «Clementi and the British Musical Scene: 1780-1830», to be held in Lucca, Complesso Monumentale di San Micheletto, from Tuesday 24 until Thursday 26 November 2015.

The period from circa 1780-1830 was once considered the ‘dark age’ of British music. The presence of non-British composers was acknowledged, as was musical activity in general, but the assumption that native British composers produced little of significance forestalled sustained research into the period. More recent scholarship, assisted by a more multivalent, less ‘composer-centric’, approach to musical history, has largely overturned this view. The series of Nineteenth-Century British Music Studies and other major publications have charted the rise of training institutions, the acceleration in music publishing, the development of instrument technology, and complex interactions have been traced between composers, publishers, instrument manufacturers and business entrepreneurs, all responding to the dynamics of social and economic change wrought by the industrial revolution. At the same time, the importance of geographical centres apart from London has been acknowledged; and finally, the compositional output of native British composers or European figures active in the British arena has become more accessible through recordings and scholarly editions.  
One figure central to these developments has been Muzio Clementi (1752-1832). With his multi-dimensional career as composer, teacher, instrument manufacturer, publisher and (until about 1790) performer, Clementi, based in England for much of his life, encompasses the rich and multi-facetted world of early-nineteenth-century British music; and with business ventures extending in numerous international directions and through his sustained contribution to the evolution of instrument technology, Clementi embodies the enterprise and dynamism of the Industrial Revolution itself. As a composer Clementi produced a body of solo piano and chamber compositions and various pedagogical works that culminated in the multi-volume Gradus ad Parnassum. Particularly after 1800 he also produced a substantial number of (now largely lost) orchestral works. During the years that Clementi developed his business interests as publisher and instrument manufacturer he was also preoccupied with musical education, leading to his collaboration with figures like Giovanni Battista Viotti (1755-1824) in an initial attempt to establish an Academy of Music in London. The recent publication of Clementi’s correspondence, edited by David Rowland, has shed new light on Clementi’s ever-expanding network of contacts with almost the full range of eminent musicians on the British scene and beyond. 

Stimulated by and with the aim of building on recent scholarship, this conference examines British musical life at the turn of the nineteenth century, encompassing the rise of institutions such as the Philharmonic Society and the Academy of Music; the dynamics of music publishing and instrument technology and the cross-currents of European and British compositional styles. With Clementi at the centre, the conference examines the contributions of late-eighteenth-century figures like Viotti, but also moves forward in time to encompass William Sterndale Bennett (1816-1875), whose bicentennial falls in 2016. The aim is to build on recent research into Clementi and early nineteenth-century British music more generally, stimulated by initiatives like the conference Muzio Clementi: Cosmopolita della Musica (Rome), and the Italian National Edition of Muzio Clementi’s Works, in motion since 2008. A mixed methodology is encouraged, and in particular, comparisons with the activities and compositional output of native British composers. Major themes are suggested below, but other topics are also welcome:    

· Contemporary British music retail and instrument manufacturing
· The music-publishing trade in Britain and Europe
· The rise of performing and training institutions in early-nineteenth-century Britain
· The rise of the piano and the expanding market for pedagogical works
· Changes in Keyboard Performance Styles 
· The piano compositions of Clementi and his British-based contemporaries
· British symphonic music: symphonies by Clementi, Samuel Wesley, Cipriani Potter, William Sterndale Bennett and others
· The existence of an ‘English’ concerto tradition: Jan Ladislav Dussek, Johann Baptist Cramer, William Sterndale Bennett, John Field and others
· The revival of ‘early’ music in nineteenth-century Britain: Clementi, Samuel Wesley, William Sterndale Bennett and others 


PROGRAMME COMMITTEE

· Roberto Illiano, Lucca
· Fulvia Morabito, Lucca
· David Rowland, Milton Keynes, UK
· Luca Lévi Sala, Poitiers
· Rohan H. Stewart-MacDonald, Warwickshire, UK

KEYNOTE SPEAKERS

· Simon McVeigh (Goldsmiths College, London)
· Leon Plantinga (Yale University, New Haven, CT)


The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume. 
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. 
All proposals should be submitted by email no later than ***Sunday 12 April 2015*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of May 2015, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date. 
For any additional information, please contact: 

Dr. Roberto Illiano, conferences@luigiboccherini.org

Nineteenth-Century Music Criticism

http://www.luigiboccherini.org/19musicriticism.html

organized by
Centro Studi Opera Omnia Luigi Boccherini (Lucca)
Palazzetto Bru Zane – Centre de musique romantique française (Venice)

In collaboration with
OICRM: Observatoire interdisciplinaire de création 
et de recherche en musique, Montréal

10-12 November 2015
COMPLESSO MONUMENTALE DI SAN MICHELETTO – Lucca


The Centro Studi Opera Omnia Luigi Boccherini of Lucca and the Palazzetto Bru Zane – Centre de musique romantique française of Venice, in collaboration with OICRM of Montréal, are pleased to invite submissions of proposals for the symposium «Nineteenth-Century Music Criticism», to be held in Lucca, Complesso Monumentale di San Micheletto, from Tuesday 10 until Thursday 12 November 2015.
This conference aims to deal with the complex world of music criticism during the nineteenth century, a period in which criticism not only involved the evaluation of performances and the interpretation of music, but also significantly affected musical aesthetics. Many composers of the period were actively involved in writing for musical journals: the best known examples are Robert Schumann, founder of the Neue Zeitschrift für Musik, and Hector Berlioz, active as a journalist for the Europe littéraire, the Gazette musicale and the Journal des Débats. The present conference will explore this multifaceted world and will focus on composers’ opinions, the theatrical press and musical iconography.    

The programme committee encourages submissions within the following areas, although other topics are also welcome:

• Musical Aesthetics and Criticism

• Writings on Music

• Composers as Critics

• Performing Practice and Criticism

• Musical and Theatrical Press

• Musical Iconography as Criticism

PROGRAMME COMMITTEE

• Marita Fornaro Bordolli (Universidad de la República, Uruguay)

• Teresa Cascudo (Universidad de La Rioja)

• Michel Duchesneau (Université de Montréal / OICRM)

• Katharine Ellis (University of Bristol)

• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)

• Massimiliano Locanto (Università degli Studi di Salerno)

• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)

• Gemma Pérez Zalduondo (Universidad de Granada)

• Luca Lévi Sala (Université de Poitiers)

KEYNOTE SPEAKERS

• Teresa Cascudo (Universidad de La Rioja)

• Katharine Ellis (University of Bristol)

The official languages of the conference are English, French and Italian. Papers selected at the conference will be published in a miscellaneous volume. 
Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography. 
All proposals should be submitted by email no later than ***Sunday 19 April 2015*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.
The committee will make its final decision on the abstracts by the end of May 2015, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date. 
For any additional information, please contact: 

Dr. Roberto Illiano, conferences@luigiboccherini.org

http://www.luigiboccherini.org/19musicriticism.html

Music and Mobilities

Call for Papers

Joint Study Day of the British Forum for Ethnomusicology and the Royal Musical Association, Faculty of Music, University of Oxford, Friday 15 May 2015

Including an invited paper by Laura Tunbridge (University of Oxford), this second annual BFE/RMA Study Day seeks to bring together researchers to engage in interdisciplinary discussions about the relationship between music and mobilities. In the recently published Oxford Handbook of Mobile Music Studies (2014), Jason Stanyek and Sumanth Gopinath observe that scholars of mobility have hitherto neglected music and sound: ‘mobility studies is, by and large, silent’. The Handbook is a pioneering attempt to ‘sonify’ the field, and the authors call for ‘scholars of mobility to take music and sound much more seriously’.

A response to, and an echo of, their call, this Study Day seeks to encourage a dialogue between mobility studies and the study of music and sound. What can mobility studies learn from music scholarship, and, conversely, how can ideas from mobility studies help us better understand musical forms and practices? How can scholars of music and sound develop, refine and problematize the concept of mobility? How might we conceptualize diverse and alternative musical ‘mobilities’?

We invite proposals for 20-minute papers that offer new insights into the issues surrounding music and mobilities, and which develop these discussions across different historical periods, geographic areas and academic disciplines. Papers will be followed by 10 minutes of questions and discussion. We would particularly welcome submissions from graduate students and early career researchers.

Themes that papers may address include, but are not limited to:

  • Mobile music and sound: styles, genres, repertoires, instruments
  • Mobile musicians: migration, travel, transport
  • Mobile audiences/listeners and mobile listening devices
  • Music, mobility, and temporality
  • Music, mobility, and geography: space, place, environment
  • Music, mobility, and (im)materiality
  • Music and (im)mobility; the body, health, and wellbeing
  • The politics and ethics of mobile music and sound
  • Mobile music before the twentieth century

Titles and abstracts of no more than 200 words should be sent to musicandmobilities@gmail.com by 6 March 2015. Please include name, affiliation, email address and AV requirements on a separate cover sheet. The Committee aims to notify applicants of the outcome by 20 March 2015.

The programme for the Study Day and details of registration will be announced on the website in due course: http://musicandmobilities.wordpress.com.

Programme Committee: Lyndsey Hoh (University of Oxford; BFE Student Liaison Officer), Peter Atkinson (University of Birmingham; RMA Student Representative), and Stephen Millar (Queen’s University Belfast; RMA Student Committee Member).

If you have any further queries, please contact the programme committee by emailing musicandmobilities@gmail.com.

Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

We are happy to announce the upcoming conference dealing with the history and sociology of musicology:

Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen

Carl von Ossietzky Universität Oldenburg, Institut für Musik
16.01.2015–17.01.2015, Oldenburg, BIS-Saal

Eine soziologisch und historisch fundierte Wissenschaftsforschung der Musikwissenschaft stellt nach wie vor ein Desiderat dar. Die interdisziplinäre Tagung „Musikwissenschaft: Generationen, Netzwerke, Denkstrukturen“ will dazu beitragen, entsprechende Perspektiven in der Selbstreflexion des Faches zu etablieren. Denn obwohl Geschichte und Soziologie der Musikwissenschaften heute gewiss nicht mehr als terra incognita gelten können, bleiben Denkstrukturen und Netzwerke, die als Räume und Grenzen auf den wissenschaftlichen Landkarten erscheinen müssten, merkwürdig verschwommen.

In vier Panels der Tagung – Generationen und Netzwerke, Sprachen und Kulturen, Denkstrukturen und Wissenskonzepte, Öffentlichkeiten und Medien – markieren Beiträge aus Musikwissenschaften, Kommunikationswissenschaft und Soziologie nicht nur zentrale Gebiete dieser Landkarte. Sie spüren darüber hinaus der Interaktion von Forschung und gesellschaftlichen Strukturen nach und reflektieren am Beispiel der Musikwissenschaft Zusammenhänge zwischen Kommunikation, Macht und Wissen.

Ein abschließender Roundtable weitet unter dem Titel „Warum Wissenschaftsforschung?“ noch einmal die Perspektive, um gemeinsam über Chancen und Notwendigkeiten wissenschaftsgeschichtlicher und wissenschaftssoziologischer Ansätze nachzudenken. Die Tagung bietet dabei ein generationenübergreifendes Diskussionsforum für Wissenschaftlerinnen und Wissenschaftler verschiedener Disziplinen und wird gerade der jungen Forschergeneration eine Stimme geben.

Organisation: Anna Langenbruch (Universität Oldenburg), Ina Knoth (Universität Hamburg), Sebastian Bolz (Ludwig-Maximilians-Universität München), Moritz Kelber (Universität Augsburg)

Website: www.denkstrukturen.wordpress.com

Anmeldung: denkstrukturen2015@gmail.com

 

Programm

Freitag, 16.01.2015

13 Uhr Begrüßung und Eröffnung der Tagung
Grußworte von Katharina Al-Shamery (Präsidentin der Carl von Ossietzky Universität Oldenburg) und Melanie Unseld (Prodekanin der Fakultät III der Carl von Ossietzky Universität Oldenburg)

Sebastian Bolz, Ina Knoth, Anna Langenbruch:
Einführung in das Tagungsthema

13.45–16.00 Uhr Panel I: Generationen und Netzwerke
Moderation: Moritz Kelber, Sebastian Bolz

Henry Hope (Oxford)
Friedrich Gennrich und die „Frankfurter Schule“

Lisa-Maria Brusius (Oxford)
Christian Kadens „Wanderung zwischen den Welten“ – Oral History und die Fachgeschichte der Musiksoziologie an der Humboldt-Universität zu Berlin

Annette van Dyck-Hemming und Melanie Wald-Fuhrmann (Frankfurt a. M.)
Von der Generation zum Netzwerk zur Denkfigur? Auf der Suche nach einer zuverlässigen Datenbasis

Michael Custodis (Münster)
Kleiner Fisch im großen Teich? Musikwissenschaft und institutionalisierte Forschungsförderung

 

16.15–17.45 Uhr Panel II: Sprachen und Kulturen
Moderation: Anna Langenbruch

Michael Braun (Regensburg)
Dürrenmatt und die Bartók-Forschung: Zum Einfluss einer Sprachhürde auf Forschungsrezeption und -entwicklung

Maria Bychkova (Hannover)
Russische Emigration der „ersten Welle“ in der Betrachtung von deutschen und russischen Musikwissenschaftlern. Versuch eines methodischen Vergleichs

Carolin Krahn (Wien)
Dimensionen und Implikationen einer kosmopolitischen Musikwissenschaft im deutschsprachigen Raum

 

18.00–19.00 Uhr Roundtable I: Kommunikation Macht Musikwissenschaft? Ein- und Ausgrenzung von Wissen
Susanne Binas-Preisendörfer, Michael Braun, Michele Calella, Catherine Herbin, Franziska Hohl, Jens Loenhoff
Organisation: Studierende der Universität Oldenburg
Moderation: Friederike Bunten

 

Samstag, 17.01.2015

9.00–11.00 Uhr Panel III: Denkstrukturen und Wissenskonzepte
Moderation: Ina Knoth

Jens Loenhoff (Essen)
Implizites Wissen, gelingende Praktiken und die Gegenstände der Erkenntnis

Andreas Domann (Köln)
Analogiedenken in der Musikwissenschaft. Zu den politischen Voraussetzungen eines hermeneutischen Paradigmas

Franziska Hohl (München)
Wissenshybride zwischen Form und Fantasie. Die Materialität der sprachlichen Performanz am Beispiel der musikalischen Improvisation

Karina Seefeldt (Hannover)
Zwischen Schein und Sein – Interdisziplinarität als wissenschaftlicher Ansatz?

 

11.30–13.30 Uhr Panel IV: Öffentlichkeiten und Medien
Moderation: Sebastian Bolz

Kristina Richts (Detmold)
Musikwissenschaft im digital turn?

Elisabeth Treydte (Wien/Frankfurt a. M.)
Schreiben über Komponist_innen – ein geschlechterforschende Rekonstruktion des Diskurses in der Neuen Zeitschrift für Musik

Jan Hemming (Kassel)
Zwischen Strohfeuer und Nachhaltigkeit. Ein nicht nur persönlicher Erfahrungsbericht zur Medienpräsenz

 

14.30–16.00 Uhr Roundtable II: Wozu Wissenschaftsforschung?

Ulrike Böhmer, Andreas Domann, Melanie Unseld, Gerald Lind, Melanie Wald-Fuhrmann
Moderation: Moritz Kelber

Women in Music since 1913

Call for Papers: Women in Music since 1913 Symposium

Liverpool Hope University, 21 March 2015

Due to Lili Boulanger’s historic triumph in the Prix de Rome competition, 1913 is often regarded as a watershed year in the history of Women in Music. A 19-year-old woman winning France’s most prestigious composition award symbolises women’s move from the private musical realm to the professional arena. Of course Boulanger’s achievement is part of a much wider set of trends, as the last century has seen the development of greater opportunities for women musicians than ever before. Conversely, the argument has been made that modernist compositional strategies were levied as a musical backlash against first-wave feminist progress in the early decades of the twentieth century, and many female music students still express some anxiety about aspirations to a compositional career in ways that suggest there is much progress left to be made. In the wake of the First-World-War centenary commemorations (another historical landmark highlighting complex developments in the struggle for and against gender equality), 2015 is a timely moment to critically consider the changing landscape of Women in Music since 1913.

We invite proposals for 20-minute papers on any musical genre or practice which may address, but need not be limited to, the following themes:

  • Composing in Lili Boulanger’s wake
  • Women’s music education in the twentieth and twenty-first centuries
  • The impact of feminist politics/the Women’s Liberation Movement on women in Music
  • Women in composition
  • Women in performance
  • Women and music technology
  • The representation of women in music since 1913
  • Women in popular music
  • Comparative views of women and men in music
  • Comparative issues for trans and cis women in music/as musicians

Proposals for 20-minute papers or suggestions for panels of four speakers (2h) should be sent as abstracts of not more than 300 words to womeninmusic@hope.ac.uk  by Friday 9 January 2015. All applicants will be informed of the outcome by early February 2015.

Enquiries should be directed to womeninmusic@hope.ac.uk

Programme Committee: Annika Forkert, University of Nottingham; Laura Hamer, Liverpool Hope University (Chair); Freya Jarman, University of Liverpool; Rhiannon Mathias, Bangor University.

 

Listening to Music: People, Practices and Experiences

24-25 October 2015, the Royal College of Music, London, UK

The conference is held as part of the Listening Experience Database (LED) Project http://www.open.ac.uk/Arts/LED

The keynote speaker will be Professor Simon Frith.

Conference website: http://www.rcm.ac.uk/research/researchareas/pps/led/callforpapers/

How have people responded to listening to music in their everyday lives? We have access to plenty of professional critical opinion, but what new insights are offered by an examination of the unsolicited observations and feelings of ordinary listeners – what can we learn about the effects of music, its cultural value and the manner of its consumption in a range of social, historical and geographical contexts?

The Listening Experience Database Project focuses on the building and interrogation of a large database of personal listening experiences, with the aim of establishing a more robust evidential base for the exploration of such questions.

As we come to the end of the first phase of the project, the conference is an opportunity to take stock of progress to date, to look ahead to future developments, and – crucially – to examine some of the themes and approaches to the study of music that may be supported by the mass of evidence of listening experiences that the database is accumulating.

Proposals are invited for papers of up to 20 minutes (followed by 10 minutes of discussion), and panels or roundtables of up to 60 minutes.

We are interested in receiving proposals on a wide range of topics unrestricted by period, musical genre or culture. As a guide, you may want to consider some of the themes which already interest the project team:
• Listening and travel
• Wartime listening
• Listening and gender
• Listening and social class
• Practitioner listening – performers and composers
• Listening to early repertoires
• The impact on listening of recording and other technologies

Your proposal should include:
• the name(s) and institutional affiliation(s) of the participant(s)
• title and abstract (250 words)
• short biographical note(s) (100 words per participant)

The deadline for proposals is midnight on Sunday 12 April 2015.

Please email your proposal to arts-listening-experience@open.ac.uk

Abstracts will be reviewed and notifications of acceptance sent out by the end of May 2015.

Registration will open in June 2015. All speakers apart from the keynote speaker and project team members will be required to register.

Please feel free to address any queries to the conference organizers, Dr Helen Barlow and Simon Brown, at arts-listening-experience@open.ac.uk

Napoleon’s Last Stand: Popular Reactions and State Responses to the One Hundred Days

Napoleon’s Last Stand:Popular Reactions and State Responses to the One Hundred Days

Tuesday 7 July 2015, University of Warwick, UK

Sponsored by the European History Research Centre and the AHRC-funded project ‘French Theatre of the Napoleonic Era’ at the University of Warwick.

When Napoleon escaped from Elba and landed in France in February 1815, he did so by presenting himself not as an autocrat, but as a popular hero: one who could, as Balzac later put it, ‘gain an empire simply by showing his hat! ’. In representing himself as epitomising the sovereignty of the French people, Napoleon also linked his cause to a liberal reading of the principles of the French Revolution. This representation proved unsustainable under the Allies’ rejection of his claim to power and the resumption of military conflict, but it encapsulated, in dramatic terms, the opposition between state legitimacy as a function of popular support and consent, and state legitimacy as something awarded by the autocratic decisions of the Congress of Vienna and the Courts of Europe. While by 1814, most of Europe thought the radicalism of the French Revolution had finally been contained, the 100 Days revealed the fragility of the Great Power politics that had sought to contain France as both a military and an ideological force.

This conference will explore reactions to Napoleon’s return within Europe and beyond, and examine the extent to which these reactions chimed with or departed from the behaviour of the statesmen who ordered and managed the military responses to Napoleon. What evidence is there of people across Europe identifying with Napoleon’s return? How far – and by whom – was his return perceived as a return to French revolutionary principles, as an opportunity for the adoption of such principles in other states, or as fundamentally anathema to the order, stability, and peace? While some of these questions are most applicable to Austria, Russia, Prussia, and Britain, they also have relevance for states such as the Netherlands, Ireland, Spain, Italy and Portugal: that is, those marked by revolutionary or Napoleonic experience but, by 1815, supposedly reordered by the Great Power diktat at the Congress of Vienna. And was there a wider global reaction to his return, in Egypt, the Americas, the Ottoman world, and the Balkans?

The 100 Days is usually discussed largely in military terms. The purpose of this conference is to turn attention to popular responses to this dramatic period, and to consider its implications for the self-understanding of states and peoples in the post-revolutionary European and world order. We invite proposals for 20-minute papers that engage with these issues from the perspective of cultural, social and political history, taking in sources from the spheres of literature, music, theatre and visual art as well as journalism and political commentary. Abstracts of 500 words should be emailed to 100days@warwick.ac.uk by January 31, 2015. We aim to review applications quickly and will notify applicants of our decisions by the end of February at the latest. It is envisaged that selected conference papers will be published as a collection of essays.

The conference language is English.