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

Popular Music and Public Diplomacy

Technische Universität Dortmund, Germany
6-8 November 2015

Call for Papers

In the early years of the Cold War, Western nations increasingly turned towards popular music in their public diplomacy. While the diplomatic use of popular music was initially limited to such genres as jazz and gospel, the second half of the twentieth century saw a growing presence of various popular genres in diplomatic contexts, including country, bluegrass, rock, punk, reggae, and hip-hop. As an instrument of public diplomacy, popular music plays a complex role in contested terrain. Whether it functions as cultural subversion, as a reaffirmation of cultural hegemony, or as a combination of both is conditioned by a web of interdependent factors ranging from the music itself to its mediation and appropriation in different contexts.

Music diplomacy has not only impacted the ways in which audiences perceive foreign cultures, but it has also helped to shape the cultural horizons of politicians, diplomats, cultural managers, journalists, and musicians involved in diplomatic programs. In this way, music diplomacy has had highly significant cultural and aesthetic effects. The musicians’ role as their countries’ cultural ambassadors, for instance, had the potential to lead to radical transformations in the way they were perceived at home, forcing them to reconfigure their rhetorical and musical legitimation as artists. In a way, the diplomatic usability of musicians as ambassadors is an aesthetic and performative benchmark by means of which artists have re-defined themselves and their work. International cultural exchange with local musicians in host countries likewise inspired musical ambassadors to venture into previously unknown musical and cultural territories, thus impacting their aesthetics and oeuvres.

This conference seeks to illuminate the diplomatic function of popular music from a transnational and transdisciplinary perspective, accentuating its interconnectivity and dissemination across national borders. We are particularly interested in the nexus of power, popularity, aesthetics, and cultural exchange. How did popular music function in the ideological conflict between East and West, for instance, and how did its function change after the fall of the Iron Curtain? How did U.S. popular music programs interact with other nations’ initiatives to channel their self-representation through popular music? Who are the agents, stakeholders, and gatekeepers of popular music diplomacy? What is the role of celebrity in music diplomacy? Has popular music been an “efficient” instrument of national and communal self-representation and how do institutions measure its efficiency?

Proposals:
We invite contributions from a variety of disciplines, including cultural studies, musicology, ethnomusicology, political science, diplomacy studies, history, sociology, literature, international relations, and other relevant fields. Proposals should include a title, 250 word abstract, technical requirements, and short biographical sketch. Please submit your proposal by 1 April 2015 to musicaldiplomacy2015@gmail.com.

Keynote speakers include Martha Bayles (Boston College, U.S.) and Klaus Nathaus (University of Oslo, Norway).

The conference is hosted by the English Department and the Department of Music and Musicology at TU Dortmund University, Germany.

Organizing Committee:
Mario Dunkel (TU Dortmund University, Germany)
Sina Nitzsche (TU Dortmund University, Germany)

Conference website: www.musicaldiplomacy.org

Ninth Biennial International Conference on Music Since 1900

CALL FOR PAPERS: International Conference on Music Since 1900, Glasgow, September 2015

SUBMISSION DEADLINE: 31 MARCH 2015

The Ninth Biennial International Conference on Music Since 1900 will take place at the University of Glasgow, School of Culture and Creative Arts, from Monday 7th September to Wednesday 9th September, 2015. We invite proposals for papers on any topic relating to 20th- and 21st-century music conceived in the broadest possible terms, including sound studies and inter-media arts. We welcome all methodological approaches, and particularly encourage submissions that question disciplinary boundaries and/or propose interdisciplinary perspectives.

*PLEASE NOTE: on Sept. 7, the ICMSN conference will coincide with the first ‘Workshop’ events of the RSE-funded initiative ‘Building a British Audiovisual Research Network (BARN)’, some of which will be open to conference attendees.

Proposals in the following categories will be considered:

  • Papers: 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) abstract.
  • Paper sessions: 3 or 4 papers, each of 20 minutes maximum, with 10 minutes for discussion. Please submit a 250-word (maximum) summary of the session, plus a 250-word (maximum) abstract for each session participant.
  • Lecture-recitals, including lectures illustrated by sound diffusions or audio-visual screenings. Please submit a 250-word (maximum) summary, plus participant CVs and recordings/scores/other details of works to be included in the event.

 

We will only accept one proposal of each type per applicant. Proposals should not duplicate presentations being given at other conferences or events close in time to ICMSN 2015.

 

Please send your proposal as a Word attachment to arts-icmsn@glasgow.ac.uk, indicating whether you need any AV equipment or a piano.

 

Successful applicants will be informed by 1 May 2015.

 

Programme committee: Dr Eva Moreda Rodriguez (University of Glasgow, Chair), Dr David Code (University of Glasgow), Dr Laura Hamer (Liverpool Hope University), Dr Philippa Lovatt (University of Stirling), Dr Christopher Mark (University of Surrey), Dr Mark Percival (Queen Margaret University)

Current Musicology 50th Anniversary Conference

March 28-29, 2015, Columbia University

The journal Current Musicology is celebrating its fiftieth anniversary with an open-themed conference on March 28-29, 2015, to take place in Rooms 522-523, Butler Library, Columbia University. The conference is free and open to the public.

Over the two days, the event will feature paper presentations given by scholars from across Canada, Europe, and the United States. We are very pleased to welcome back founding editor Professor Emeritus Austin Clarkson (York University), as well as former editors Professors Anthony Barone (University of Nevada), Eleonora Beck (Lewis & Clark College), Murray Dineen (University of Ottawa), Peter Lefferts (University of Nebraska-Lincoln), and Karen Painter (University of Minnesota), who will all give paper presentations. Georgina Born, Professor of Music and Anthropology at the University of Oxford, will give the keynote address. The conference will also feature a roundtable discussion titled The Future of Music Studies, involving Professors Kofi Agawu (Princeton University), Lydia Goehr (Columbia University), Lawrence Kramer (Fordham University), George Lewis (Columbia University), and Ingrid Monson (Harvard University).

For more information, visit www.currentmusicologyconference.com.

Working on Composers’ Collected Works

IMS regional association of Eastern European countries
Russian Institute of Art History
St Petersburg State Museum of Theatre and Music
Center for New Technology in the Arts “Art-parkING”

International symposium
September, 2-6, 2015, St Petersburg (Russia)

Call for Papers

At any given point in history, the creation of a composer’s Collected Works testifies to current musicological practices, and reflect the extent of knowledge about the composer, their biography, working practices and creative environment. All these component parts of a composer’s creative legacy – historical, cultural, social and practical – mutually inform and shape each other. This five-day international symposium, convened by the IMS regional association of Eastern European countries and hosted by the Russian Institute of Art History and the St Petersburg Institute of Fine Arts, takes as its central theme the aesthetic and scholarly practices involved in creating new critical editions. Alongside the two IMS study groups on Russian and East European music (Shostakovich and his Epoch and Stravinsky Between East and West), there will be a panel devoted to Tchaikovsky and a keynote lecture series.
Proposals for papers and panels on other composers are invited and to be sent before February, 28.

Organizing committee:
Dr Liudmila Kovnatskaya (chair), Prof of the St Petersburg State Conservatory, Leading researcher of the State Institute of Fine Arts (St Petersburg);
Dr Elena Tretiakova, deputy rector of St Petersburg State Academy of Theatre, director of the Russian Institute of Art History St Petersburg.
Dr Lidia Ader, senior researcher of the Rimsky-Korsakov Memorial Museum-Apartment;
Dr Tamara Skvirskaya, head of Manuscript department of the Academic library in St. Petersburg State Conservatory;
Dr Natalia Braginskaya, assistant professor, head of the History of western music department, dean of Musicology department of St. Petersburg State Conservatory;
Dr Olga Digonskaya, senior researcher of the the Glinka national museum consortium of Musical Culture and the Archive of Dmitry Shostakovich in Moscow;
Dr Galina Petrova, academic secretary of the Russian Institute of Art History (St Petersburg);
Dr Anna Porfirieva, head of the Music department of the Russian Institute of Art History (St Petersburg);
Dr Dmitry Schumilin, deputy director of the Russian Institute of Art History (St Petersburg)

The languages of the symposium are English and Russian.
Free papers should not exceed 30 minutes plus 10 minutes are reserved for discussions.
Free paper abstracts of 200 words as well as biographies of participants of 100 words should be sent to Lidia Ader to lidiader@gmail.com by March, 15, 2015.
The letter of acceptance will be sent by March, 30, 2015.

The symposium is planned within the cultural background of St Petersburg and will be held in the historical center. All participants will be offered excursions to places of interest by experts in this sphere, professors of the Universities and Institutes.
The Institute will be able to provide free accommodation to a few participants and suggest some hotel options with a generous discount.

An information is available on www.ims-international.ch, www.artparking.org, www.artcenter.ru, www.theatremuseum.ru

Modernist Musics and Political Aesthetics

8th-10th April, 2015, University of Nottingham, Nottingham, UK

A three-day conference hosted by the School of English at the University of Nottingham. For more information please visit the conference website:http://www.nottingham.ac.uk/…/modernist-musics-a…/index.aspx

Plenary Speakers: Christopher Norris (Cardiff); Emma Sutton (St Andrews); Scott W. Klein (Wake Forest, NC)

A programme can be found here: http://www.nottingham.ac.uk/…/Documents/MMPA-Conference-Pro…

Registration will open soon.

Nathan Waddell and Gemma Moss (conference co-organisers)

Understanding audiences for the contemporary arts

One day symposium: ‘Understanding audiences for the contemporary arts’

Wednesday 29th April 2015

Humanities Research Institute, University of Sheffield

This symposium, hosted by the Sheffield Performer and Audience Research Centre (SPARC), brings together researchers and arts professionals to share current approaches to audience research and audience development, and to explore future possibilities for research and practice. The event has a particular focus on the contemporary arts (spanning contemporary music, dance, theatre and visual art), and SPARC researchers will present the initial findings of our collaborative project with Birmingham Contemporary Music Group. We warmly invite participation from researchers and professionals working across the arts with an interest in audience engagement, and in the contemporary arts in particular.

In order to share ideas and facilitate discussion, we are inviting short researcher/practitioner statements (rather than full papers) on the following key themes:

  1. Methods and ethics – what are the practical challenges of researching with audiences?
  2. Communication and collaboration – how can arts organisations and researchers work together effectively to increase understanding of audience experience?
  3. Impact and application – what evidence is there of research making a difference to audience development, and how could this impact be better achieved and understood?

Three panels, chaired by invited practitioners and researchers, will address these topics and encourage discussion amongst all delegates. We will also be joined by two invited speakers: pianist Dr Philip Thomas (University of Huddersfield), who will offer a performer’s perspective, and Kealy Cozens (Sound and Music), bringing insights from her organisation’s work in composer and audience development.

Call for papers

Proposals are invited for 10 minute presentations that address one of the three themes outlined above, ideally through an evidenced example from recent research or practice. Each panel will include two or three presentations, followed open discussion with all delegates.

Proposal deadline 28th February 2015: Please submit your proposal (up to 200 words) and a short biography to be considered for inclusion in the symposium by email to sparc@sheffield.ac.uk Decisions will be made by the SPARC organising committee and the programme announced by mid-March.

 Registration

Registration will be open via the SPARC website from 1st March 2015. A registration fee of £15 (or £10 student rate) will be payable by all delegates, to include lunch and refreshments.

SPARC website: http://sparc.dept.shef.ac.uk

Organising committee: Lucy Dearn, Sarah Price,

Stephanie Pitts & Jonathan Gross

 Enquiries: sparc@sheffield.ac.uk

The Loder family of Bath: Music and culture in provincial Britain in the long nineteenth century

Call for papers: Study Day

Bath Spa University and Holburne Museum

A celebration of the Loder family of Bath. Music and culture in provincial Britain in the long nineteenth century

Organised by Bath Spa University’s Centre for Musical Research in collaboration with the Holburne Museum.

Date: Friday 16 October 2015

Venue: The Holburne Museum (Bath, UK)

Keynote Address, Emeritus Professor Stephen Banfield: Earning a musical living in provincial England in the age of the general practitioner

Guest Speaker, Professor Rachel Cowgill: The Project for English Opera in early nineteenth-century Britain: some perspectives from provincial archives

Study Day Organiser: Dr Matthew Spring

 

Bath Spa University’s Centre for Musical Research and The Holburne Museum are pleased to invite papers for this study day on subjects relating to the Loders of Bath and more widely to aspects of music and culture in provincial Britain in the long nineteenth-century.

 

The Loders were the leading family of musicians in Bath from the 1790s, a position they maintained until 1850. We welcome papers associated with the activities of the Loders, and also papers associated with the wider social aspects of history and culture in provincial Britain in the period 1790-1900.   In particular we invite topics that touch upon the Gothic in English opera and literature, provincial musical families, the music trade, and the wider aspects of leisure culture in the early nineteenth century. The study day coincides with the launch of a new book, The Loder Family: Musicians in Nineteenth-Century Bath, edited by Nicholas Temperley and published by Boydell and Brewer.   It will be an opportunity to inform a wider public of the achievements of this important but little known musical family.

 

Members of the Loder family were active not only in Bath, but in Bristol, London and elsewhere. Prominent among them was John David Loder (1788-1846), a professor at the Royal Academy of Music and one of the foremost violinists of his day, as a teacher and orchestral leader in Bath, London and at festivals around the country. One of John David’s musical sons, Edward J. Loder became a leading composer of English opera from the mid-1830s to the mid-1850s. Such was the influence of this multi-branched Loder family in particular that the 1833 Bath Directory lists eight members of the family active in Bath as professors of music or music business owners. Some of the Loders left Britain altogether, travelling to North America and Australia. One branch of the family produced George Loder (c1794-1829), a Bath flautist and pianist. By his first marriage he was the father of Edward’s cousin George Loder (1816-68), who was active in both the USA, where he conducted the first American performance of Beethoven’s Ninth Symphony, and Australia, where he died. By his second marriage George Loder senior was also father of Kate Fanny Loder (1825-1904), another first cousin of Edward. She studied at the Royal Academy of Music and was a professional pianist (notable for performances of music by Weber, Mendelssohn and Brahms) and also a composer – most particularly of orchestral and chamber music.   While the family was firmly based in Bath until the mid-century, thereafter they took their skills and talents across the English-speaking world.

 

The day will be hosted by The Holburne Museum in Bath. Originally the Sydney Gardens Hotel, the Holburne is situated at the entrance to the Sydney Gardens, the only extant Georgian pleasure garden in Britain – though much changed since its heyday in the early nineteenth century.   It was here that John David Loder and later John Fawcett Loder led the orchestra that played for garden gala events. The day will include a concert of the music of the Loders and their associates. The conference will coincide with an exhibition at the The Museum of Bath at Work, where there will be a display on Bath musicians at work.

 

Conference Committee

 

Andrew Clarke, Independent Researcher

Matthew Spring, Bath Spa University

Charles Wiffen, Bath Spa University

Simone Homes, Holburne Museum

Amina Wright, Holburne Museum

 

Abstract submission

Papers are limited to 20 minutes in length allowing time for question and discussion. Please submit an abstract of no more than 200 words and one page of biography. All proposals should be submitted by 1st May 2015 to m.spring@bathspa.ac.uk. Please include your name, contact details – postal, e-mail and telephone number, and affiliation (if applicable). The committee will make a decision by the end of May 2015. Further information about the programme, concert, registration, travel and accommodation will be announced after that date. The costs for delegates will be £35 for the day. This will include tea and coffee but not lunch which is available from the Holburne café or nearby in Bath.

 

For further information and bookings for delegates go to the Centre For Musical Research’s link:

http://www.bathspa.ac.uk/schools/music-and-performing-arts/research-in-mpa/events/a-celebration-of-the-loder-family-of-bath

 

 

 

 

 

 

Over Here and Over There: The Music of World War I

The Department of Music, in conjunction with the Humanities Research Centre, is hosting a two-day festival-conference, “Over Here and Over There: The Music of World War I.” Details are available on the website: http://musicofww1.co.uk/. This is the first of three linked events, the second being a conference presentation at the Society for American Music (March 7, Sacramento CA), and the third a two-day conference at the University of Illinois, March 10 and 11, 1915:  Music, Memory and the Great War.
The York events feature three concerts, including a fully staged performance of Stravinsky’s classic “The Soldier’s Tale” at 9:30 PM on Friday, 27 February. Saturday, 28 February, will see a 1:15  lunchtime concert, featuring performances of World War I songs, and a 7:30 PM concert, “After the Lusitania,” that includes a performance of Frank Bridge’s rarely heard “Lament”, written in response to the sinking of the Lusitania (which occurred on May 7, 1915, nearly one hundred years ago).
The weekend will open with a keynote address by Professor Rachel Cowgill, at 6 PM on Friday (27th) in the Bowland Auditorium, HRC. On Saturday (28th), beginning at 2:30 PM, there will be a series of scholarly papers by distinguished international visitors Christina Bashford, Deniz Ertan, and Gayle Sherwood Magee; and on Saturday morning, 10 AM to noon, University of York students who have been studying the topic will present their findings. All Saturday papers will be given in the Rymer Auditorium at the Music Research Centre, linked with the Sir Jack Lyons Concert Hall. Other topical findings by students will be offered in poster sessions scheduled for Saturday afternoon. All Saturday papers will be given in the Rymer Auditorium at the Music Research Centre, linked with the Sir Jack Lyons Concert Hall.
The Friday and Saturday evening concerts carry a nominal charge; for tickets, see http://www.york.ac.uk/concerts/programme/. All other events are free.