Gesualdo 400^th Anniversary Conference

Saturday 23^rd – Sunday 24^th November

University of York in affiliation with the Royal Musical association

Celebrating the music of Gesualdo, the 400^th Anniversary Conference will combine academic paper sessions with a series of singing workshops and performances throughout the weekend. James Wood will give a keynote speech on his reconstructions of Gesualdo’s second book of Sacrae Cantiones and forensic psychiatrist Dr Ruth McAllister will present an analysis of the murder of Gesualdo’s first wife based on contemporaneous accounts. On the Saturday, I Fagiolini will give a concert of secular music by Gesualdo and his contemporaries.  On the Sunday, The 24 (a university of York Chamber Choir directed by Robert Hollingworth) will give a concert of sacred music, including some of James Wood’s reconstructions and a set from the Tenebrae Responsories. The academic conference will focus on the music of Gesualdo, his peers and their times.

Topics for consideration:

• The Music of Gesualdo
• Gesualdo’s peers and the artistic environment in Naples and Ferrara
• Contemporary parallels in other art forms to Gesualdo’s advanced and mannerist music

Proposals are welcomed from, but not restricted to, the topics listed above. We would like to invite proposals for 20 minute individual research or recital papers (followed by 10 minutes discussion). Proposals should not exceed 250 words and should be emailed to: gesualdo400@gesualdo.co.uk. Please submit proposals as an MS Word or PDF document but please also include a plain-text version in the main email. The following details need to be included in your proposal: name, institution, postal address, email address, telephone number, and audio/visual requirements. A publication project based on the conference proceedings will be undertaken.

The deadline for receipt of proposals is 6^th September 2013.

Committee Members: Robert Hollingworth, Prof. Jonathan Wainwright and Joseph Knowles

Accompanying this Call for Papers is the world premiere recording (we believe) of Gesualdo’s neglected 1585 motet ‘Ne reminiscaris Domine delicta nostra’. Performed by The 24 and recorded in January at the National Centre for Early Music in York.

http://www.york.ac.uk/music/conferences/gesualdo400/

We would like to invite scholars to a symposium on performing prejudice at Newcastle University on the 22^nd July 2013. We are interested in submission of short papers, position papers and/or roundtable discussions to enable the exchange of ideas.

The aim of this symposium is to exchange ideas and develop a nuanced understanding of performances of prejudice and how these manifest themselves in community encounters with the legal, cultural and policy environments. We would like to hear from those interested in the performance in songs, music, recordings, community narratives, cultural texts (broadly defined), where they construct conflict between ethnic, religious or racial groups, particularly in the social life of England, Ireland, Scotland and Wales. A key focus of this symposium will be the exchange of ideas focused around the question of conflictual agency in the performance of prejudice. We are interested in hearing from scholars from any area of the arts, humanities and social sciences, but are particularly interested in those whose work engages methods such as critical discourse analysis, performance studies, media analysis, sociological and socio-legal approaches. We envisage publishing an edited collection of essays based upon work to emerge from the symposium.

Discourses of race, religion, ethnicity and multiculturalism are currently under public scrutiny and we are interested both in the performative othering of visible minorities (e.g. those classified by themselves or others as Muslim-British) as well as less visible minorities in these islands (white sectarianism, homophobia, anti-semitism, discrimination on grounds of learning disabilities and mental health, etc.). We are also interested in other groups such as the obese, the elderly and alternative subcultures, and the extent to which it is appropriate or not to conceive of these as rights-holding groups with experiences of socio-structural prejudice. Another key concern is the othering of women; one element is how this interacts with and can be separated from trans- and other gender identity discrimination. All these may be considered from an intersectional perspective. Contributions about other groups not listed here are also welcomed.

In encounters with the legal, cultural and policy environments, some of the key issues remain focused around identifying the boundaries of prejudicial agency, and we would like to discuss how the act of performance (in addition to the textual meanings) can perform prejudicial agency. Furthermore, we are interested in theorizations of prejudicial performance that deal both with intentional prejudice that recognises the other and identifies the self as the correct form of identity, and blind prejudice that does not recognise the other(s) but privileges the self-identity as ‘natural’ and thereby prejudicing the other through a complete lack of recognition (i.e. both of Hall’s recognition and identification concepts). The recognition of the other (or lack thereof) is crucial to discourses and performance of prejudice, both for the principal narrative voice and real, virtual or imagined audiences.

The symposium will be held over one day at Newcastle University and participants will be responsible for their own travel and any accommodation etc. We are hoping for a genuinely open exchange of ideas and therefore anticipate both short papers (10-20 minutes) as well as panel discussions. To submit a proposal for participation please submit a <250 word abstract by Monday the 3^rd June 2013 to either:

Dr Simon McKerrell (International Centre for Music Studies, Newcastle University)

simon.mckerrell@ncl.ac.uk

http://www.ncl.ac.uk/sacs/staff/profile/simon.mckerrell

or

Dr Kay Goodall (The Stirling Law School, University of Stirling)

k.e.goodall@stir.ac.uk

http://www.law.stir.ac.uk/kay.goodall.php

Call for Papers / Performance Presentations

Contemporary Music Research Unit
Department of Music, Goldsmiths, University of London

18 – 19 October, 2013

This symposium proposes to bring together composers, researchers and practitioners working in contemporary music, and musicologists studying the influence notation has had for composers and performers.
From the problematics of the score as music’s sound-image to the the (im)possibility of transcription, contemporary music has been challenging the role of notation on various levels. Several responses such as non-standard formats of open works, graphic or text-based scores, have today become standard practice. To the extent that new notation seeks to problematize traditional ideologies of music performance, the symposium seeks to address the limits that current notational practices wish to explore, and to throw open possibilities for future endeavours. As such, post-WWII approaches are considered to be part of standard performance practice, although past practices can prove fruitful today in unexpected ways. Especially after the deconstructive turn in philosophy and the arts, music notation has seen novel interpretations, which are particularly welcome, although the symposium is aimed at accommodating all current directions. Recent developments in composition, aesthetics, technology, or performance can inform this gathering, which hopes to constitute a space of thinking today’s notation at the intersection of current research in such fields.

Themes might include, but are not limited to:
Graphic notation
Relationship between notation and improvisation
New complexity
Aesthetics, philosophy, and notation
Visual music
Interpretation
Word scores

Proposals of up to 300 words are invited for 20 minute presentations with 10 minutes questions. Please also include a short biographical note of around 100 words.

In addition, proposals involving practice are encouraged. These may take the form of a 30 minute presentation split between practice, speaking and questions as desired by the proposer, or pieces which could be performed as concert items. In the case of these presentations, please supply a full list of equipment needed for the presentation/piece.

Simultaneous to, and affiliated with, the symposium will be a study day devoted to the AHRC funded Digital Scores project led by Mick Feltham (University of Sussex) and Alistair Zaldua (Goldsmiths). Depending on the number of applicants this study day may run in parallel with the Notation in Contemporary Music symposium, however a discourse between acoustic notation and digitally determined/influenced notation will be sought and encouraged. Composers, performers and researchers involved in the this area are invited to submit abstracts. Information on the Digital Scores project can be found at http://thedigitalscore.net.

Please send proposals and indications of interest to either Professor Roger Redgate: r.redgate@gold.ac.uk , Dr Dimitris Exarchos: d.exchargos@gold.ac.uk, or Alistair Zaldua: a.zaldua@gold.ac.uk

Deadline for proposals: Friday, 14 June 2013

The presence of religion in music education contexts is a situation fraught with political, cultural, social, legal, educational, aesthetic, ethical, and religious tensions. This conference will bring together scholars from different disciplines for a critical examination of these complex issues in both theory and practice.

The Sibelius Academy at the University of the Arts Helsinki, invites paper proposals for a conference on August 20-22, 2014 and a subsequent book on topics at the intersection of music, education, and religion.
Papers from relevant perspectives and disciplines such as education, music education, critical pedagogy, musicology, ethnomusicology, religious studies, philosophy, sociology, anthropology, cultural studies, gender studies, policy studies, legal studies, etc. are welcome. Questions to be addressed may include:

• What role, if any, does or should religion play in the teaching and learning of music?
• What role, if any, does or should religious skepticism, agnosticism, atheism and other
varieties of non-belief play in the teaching and learning of music?
• What political, ideological, and historical considerations or matters of race, class, and gender come into play concerning the connections between music, education, and
religion?
• What are the considerations and justifications of including/excluding music associated
with religious celebration and rituals as part of school curricula?
• What are the connections between musical aesthetic experience and religious
experience? What might the relevance of these connections be for music education?
• What are the considerations of including/excluding religion in music education with regards to moral or personal development, to social or civic cohesion, or to other aspects of human flourishing?
• How do religious worldviews support or hinder the teaching and learning of music, curricular issues, personal and social development, or ethical beliefs and sensibility?
• How may particular religious traditions such as deist religions, paganism, spirituality, or
shamanism be seen to shape or relate to formal music education.
• How may historical perspectives offer insights on the relations between religions and
music education policy and/or practice?
• How do matters at the intersection of music, education, and religion arise and differ in
the context of the formation of national, regional, or ethnic identities?
• What is the relevance, if any, of questions concerning religious indoctrination, control, and censorship, to teaching and learning
music?
• Are religious, educational, and musical values compatible?
• How do feminist, queer, or racial readings of music, education, and religion complicate
these issues?
• In what ways might popular musics support or subvert religious belief in educational
contexts?

Please submit by 1 September 2013
• An abstract of maximum 500 words as Word compatible documents. Please DO NOT send pdf documents
• 1 page CV including current contact information
• Authors intending to submit their work to the edited volume should indicate this within
the abstract (e.g., “This paper will also be submitted to the book editors.”
• If you are interested in organizing a symposium, please contact the conference
organizers before submitting an abstract.
• Criteria for acceptance: original, well conducted and reported research, relevant to an
international audience, demonstrating sufficient command of the English language Please submit to: alexis.kallio@siba.fi.

Organizing Committee:
Heidi Westerlund, Sibelius Academy University of the Arts Helsinki, Finland Alexis Kallio, Sibelius Academy University of the Arts Helsinki, Finland Philip Alperson, Temple University, USA

For further information please visit the website http://sites.siba.fi/web/cpmer or contact Alexis Kallio at alexis.kallio@siba.fi.

This study day is focused on methodologies of twentieth-century tonal music. It takes place in the context of a Poulenc conference, although the scope of the study day extends well beyond this composer to address selected methodologies that engage with recent musicological debates. The Study Day will take the form of four workshop sessions on the following themes:
1. Gender/camp theory
2. Musical geographies
3. Analytical approaches
4. Archival study
Each workshop will be facilitated by recognised scholars working in these areas, including Dr. Christopher Moore (University of Ottawa), Dr Jonathan Hicks (University of Oxford), Professor Deborah Mawer (Lancaster University, Dr. Philippe Cathé (Université de Paris, Sorbonne), Geoff Thomason (RNCM) and Dr. Sylvie Douche (Université de Paris, Sorbonne).
Postgraduate students are invited to submit a proposal for 5-minute presentations on one of the topics listed above in no more than 150 words, indicating how it relates to their research topic. The short papers will contribute to a wide-ranging discussion on the topic, with plenty of opportunities for dialogue and debate. They will be encouraged to attend the other workshops and any of the sessions of the Poulenc conference. The Study Day will take advantage of the presence of so many international scholars who will be visiting Keele that weekend.
The Study Day is interdisciplinary in nature and will unite colleagues from sub-disciplines of music studies and across the humanities and social sciences. The aim is to stimulate discussion about how postgraduate work engages with analysis, current theory and archives in scholarly and creative ways. The final workshop enables participants to explore the borders between sub-disciplinary categories, artificial divisions that are sometimes exacerbated by sub-disciplinary societies, university curricula and departmental organisation. With this in mind, the Study Day is a collaboration between the Royal Musical Association and the Society for Music Analysis.
Workshop website:

http://www.keele.ac.uk/music/concerts-events-forums/postgradstudyday22june/

Proposals should be sent to Jessica Beck: v2o00@students.keele.ac.uk by the extended deadline of Friday 26 April 2013.
Postgraduate organising committee: Jessica Beck, Becky Thumpston, Peter Dear, Tatiana Wood and Barbara Kelly (Keele University)

Vendredi 17 mai, Opéra-Bastille, 120 rue de Lyon, Paris XIIe, Studio Bastille

9h Accueil
Présidence : Marc Battier
9h 30 Cécile Auzolle (Université de Poitiers), Introduction à la journée : «La création lyrique et la scène en France de 1920 à 1968».
9h 45 Isabelle Moindrot (Université Paris 8) : «L’Art théâtral moderne de Jacques Rouché. Un texte pionnier ?»
10h 30 Alexandra Bellot (Université de Poitiers) : «Étude de la mise en scène des Sept Chansons de Gian Francesco Malipiero (1920), lorsque le travail du décorateur mène à une véritable transposition plastique de l’oeuvre musicale.»

Présidence : Tamamo Nagai
11h 30 Delphine Grivel (Université Paris-Sorbonne, OMF/MAP) : «1920. La Légende de Saint Christophe à l’Opéra : un opéra compromis ?»
12h 15 Stéphane Tralongo (Université Paris-Est Marne-la-Vallée) : «Symphonie visuelle et fantasmagorie lumineuse. Un film de Germaine Dulac à l’Opéra de Paris»

Présidence : Isabelle Moindrot
14h 15 Andriana Soulele (Université de Poitiers): «Derrière les rideaux de l’Opéra de Paris : décors, costumes et mise en scène dans Oedipe (1936) de Georges Enesco»
15h Mylène Dubiau Feuillerac : «Création et reprise de Pénélope de Fauré en 1944 au Théâtre du Capitole de Toulouse : scénographie et réception».

Présidence Mathias Auclair
16h Héloïse Sérazin (Paris-Sorbonne, OMF/CRPMF) : «Les Indes Galantes de Jean-Philippe Rameau, mises en scène
par Maurice Lehmann à l’Opéra National de Paris en 1952»
16h 45 Hélène Celhay de Larrard (Conservatoire de Boulogne): «André Derain, du ballet à l’opéra (1919-1953)»
17h30 débat, fin à 18h.

Samedi 18 mai, Université Paris-Sorbonne Maison de la recherche, 28, rue Serpente, Paris 75006, salle de conférences

Présidence : Cécile Auzolle
9h Tamamo Nagai (Université Paris-Sorbonne, OMF/MINT), «De l’harmonie à l’unisson. Le rôle musical des choeurs dans le tableau final des Dialogues des Carmélites»
9h45 Dominique Escande (Philarmonie Luxembourg), «Une compositrice chorégraphe: Germaine Tailleferre et Le Marchand d’oiseaux»

Présidence : Dominique Escande
11h Damien Top (Festival International Albert Roussel), «La “beauté vivante” du spectacle roussélien»
11h 45 Charles Arden (Université Paris 8), «L’art lyrique de Fauré et Poulenc : une confrontation du lyrisme antique dans Pénélope et Les Mamelles de Tirésias».

14 June 2013, 9.30am to 5pm.

Venue: Fisher Library (Camperdown Campus, University of Sydney)

Convenors: Dr Alan Maddox and A/Prof Kathleen Nelson, Musicology Unit, Sydney Conservatorium of Music.

Manuscripts of different sorts and from different parts of Europe (ca. 1450 to ca. 1750) offer their students a great and varied legacy of musical knowledge and inspiration. Symposium papers will present a range of examples of that legacy, speakers presenting results of research into or connected with musical manuscripts of a variety of types.

Keynotes papers:

Professor Maricarmen Gómez (Universidad Autónoma de Barcelona),

A Medieval Tradition in the 21st Century: The Case of the Song of the Sibyl

Dr Jane Morlet Hardie FAHA (MEMC, University of Sydney)

Decorative Traditions in Spanish Cantorales of the Long Sixteenth Century: Juan de Yciar and Some Manuscripts from the Sydney University Collection

Also speaking:

Prof John Griffiths FAHA (Monash University and University of Melbourne), The Changing Sound of the Vihuela

Dr Samantha Owens FAHA (University of Queensland), John Sigismond Cousser’s ‘collection of fine music’: Evidence of a pan-European repertory in London and Dublin, 1704–1727

A/Prof Janice Stockigt FAHA (University of Melbourne), Reformation versus Counter-Reformation: The establishment of a Catholic Cemetery in Dresden 1724

Dr Alan Maddox (Sydney Conservatorium of Music, University of Sydney), On the trail of F.A. Calegari’s mysterious passion setting of 1718

A/Prof Kathleen Nelson (Sydney Conservatorium of Music, University of Sydney), Introducing University of Sydney RB Add. MS 376.

Enquiries to alan.maddox@sydney.edu.au or kathleen.nelson@sydney.edu.au.

A one-day conference organised by the Oxford Brookes University opera research unit (OBERTO), to be held on Tuesday 10 September 2013.

2013 is a year of important operatic anniversaries, marking, amongst others, the bicentenaries of Giuseppe Verdi and Richard Wagner, the 150^th anniversary of Pietro Mascagni, the centenary of Benjamin Britten and the 50^th anniversary of the death of Francis Poulenc. While conferences and performances are being organised worldwide to celebrate the music of these composers, we wish to consider the question of how operatic anniversaries are themselves commemorated, in keeping with the historiographical focus of past OBERTO conferences. ‘Staging Operatic Anniversaries’ will address how composers, operas and operatic institutions are memorialised in anniversary years and the different ways in which such commemorations can be considered to be performative: an act of ‘staging’. Simultaneously, the conference will explore how historical anniversaries have been depicted or celebrated upon the operatic stage. Finally, it will also consider issues surrounding the (literal) staging of operas by composers whose anniversaries fall in 2013.

We aim to expand the field of study in this area and intend that the conference should bring together in fruitful debate musicologists, historians, scholars of biography, those involved in organising and marketing anniversary celebrations and other interested parties. We therefore invite papers addressing as wide a variety of topics and methodologies as possible, including (but by no means limited to):

• The ways in which the anniversaries of the births / deaths of operatic composers and of significant operatic premieres have been marked, both historically and in the present
• Celebrations to mark the anniversaries of opera houses, opera festivals and other operatic institutions
• The ways in which anniversaries of significant historical events or birthdays have been depicted upon the operatic stage
• Historiographical approaches to musical memorialisation
• The staging of works by composers whose anniversaries fall in 2013

We envisage that the conference will comprise a mixture of individual papers, panel discussions and open discussion.

Proposals of up to 250 words are invited for individual papers of 20 minutes duration.

Proposals should be submitted by e-mail to Dr Alexandra Wilson (alexandra.wilson@brookes.ac.uk) no later than 26 April 2013.

Conference organisers: Alexandra Wilson, Barbara Eichner and Christopher Chowrimootoo

OBERTO: Oxford Brookes – Exploring Research Trends in Opera

http://arts.brookes.ac.uk/oberto/

Wednesday 5^th June, 2013

Oxford Brookes University

Call For Papers and Presentations

Oxford Brookes University Music Department is holding a one-day student-led symposium exploring the broad theme of interdisciplinarity in both musicology and compositional practice on Wednesday 5^th June, 2013. This event is intended to provide postgraduate students with an opportunity to present their recent or current work in a formal, but student-led setting. As such, the symposium should provide a stepping stone for postgraduate students hoping to present their work at academic conferences in the future. We also hope that the event will serve to bring together students from a range of different institutions and disciplinary backgrounds in fruitful debate and discussion.

The day will consist of presentations from students and will be concluded by a round table discussion featuring academics from each of Oxford Brookes’ music research units: OBERTO (Oxford Brookes: Exploring Research Trends in Opera), PMRU (Popular Music Research Unit), and SARU (Sonic Art Research Unit). We hope that this discussion will round off the day with a suitably broad range of perspectives on the theme of interdisciplinarity in music and musicology.

We would like to invite submissions from students working at both masters and PhD level. We do not intend to limit presentations to completed research: we also welcome presentations of work in progress and presentations of compositional work. In keeping with our theme, we also invite submissions from students from disciplinary backgrounds outside of music and musicology.

How to submit:

Please submit an abstract or presentation proposal of no more than 250 words. In the same document as your abstract/proposal, please also include your contact details, including email address, and your institution (if applicable). Presentations on the day should last for 20 minutes, with an additional 10 minutes at the end for questions.

Submissions should be emailed to Thomas May, with subject ‘Brookes PG Symposium’ to:

th.j.may@gmail.com

The closing date for submissions is Monday 29^th April, 2013, 5pm. The chosen participants with successful submissions will be notified by the end of Monday 8^th May, 2013.

To express an interest in attending the event, please contact Thomas May as above. Further details of the day will be advertised closer to the date.

A CONFERENCE ON LOVE AND ROCK MUSIC 

Université Paul-Valéry, Montpellier 3 (France)

  April 16 & 17, 2014

A joint production University of Chester (United Kingdom) – Université Paul-Valéry, Montpellier 3 (France)

 Sponsored by Études Montpelliéraines du Monde Anglophone (EMMA)

and The Chester Centre for Research in Arts and Media (CCRAM) (to be confirmed)

 Call for Papers

Music historians have often associated archetypal rock music with rebellion and social unrest – political protest, generational conflict, individualism, narcissism, and sexual liberation. Likewise, the press, public authorities, medical and religious institutions have routinely considered rock music as a more or less overt, dangerous form of opposition to established order, crystallizing teenage revolt. Rock has been construed as a language of resistance and grammar of protest, embodying the spirit as well as the letter of subversion.

Rock songs, however, have often taken love as a central theme – love between men and women, brothers and sisters, parents and children, or friends; sometimes for a dog, a car, a bike, or even a pair of shoes; sometimes universal, spiritual love.

Exploring the place and role of love in rock may open up new perspectives from which we can analyze the genre and its audience. We invite papers from a range of disciplinary and interdisciplinary perspectives that explore themes associated with the many roles of love in rock music, from all periods and geographical areas. Paper topics might include (but are not limited to):

* Power ballads, gender address and radio formatting

* Love expressed: musical form in the rock love song

* The use of rock in declarations of monogamous romantic love

* Anniversary tunes: weddings, rock discos, proms, funerals

* Taste, canon and genre: soft rock; the love ballad as “guilty pleasure”

* Troubadours, Lotharios and duets: the use of love in images of celebrity performers

* Issues of affect and authenticity: fan love, “music lovers,” love and the role of the critic

* Rock and the family drama: psychoanalytic interpretations, parental and brotherly love

* Themes of lost love and heartache

* Love in the realm of genre hybridity / rock subgenres

* Lovers identified: class, race, age, nation and culture

* Between love and sex in the rock genre

* Queering love: LGBT and the rock love song

* Valentines tunes

* Rock love and the negotiation of gender identities

* Second hand love: rock cover bands and tribute artists

* In the name of love: love, community and politics

* Still in love: History, memory and heritage

* Reconsidering theory and love in rock

The papers must be unpublished and can be delivered either in French or in English.

Proposals (300 words in French or in English + a short biography) must be sent either to Mark Duffett (m.duffett@CHESTER.AC.UK) or to Claude Chastagner (claude.chastagner@univ-montp3.fr). They shall feature the first and last name, field, status, affiliation, and electronic address of the author, as well as 5 key words.

The document will be saved under the following: LASTNAME.firstname.doc.

Deadline for proposals: July 15, 2013.

Summer 2013: evaluation of the proposals by the Scientific Committee

October 2013: notification of the decision to the authors

Organization

Mark Duffet, University of Chester

Claude Chastagner, Université Paul-Valéry, Montpellier 3

Scientific Committee

Andy Arleo, Université de Nantes

Paul Carr, School of Cultural & Creative Industries, Cardiff

Stan Cuesta, Écrivain, Journaliste (Rolling Stone, Rock & Folk), Montpellier

John Dean, Université de Versailles St-Quentin-en-Yvelines

Magalie Dumousseau, Université d’Avignon

Vincent Dussol, Université Paul-Valéry, Montpellier 3

Charlotte Gould, Université Sorbonne Nouvelle, Paris 3

Elsa Grassy, Université Marc Bloch, Strasbourg

John Mullen, Université Paris Est, Créteil-Val de Marne

Christophe Pirenne, Université Catholique de Louvain

Simon Warner, University of Leeds