DATE: February 12th, 2021
10.30am Welcome by Laura Tunbridge (University of Oxford)
10.45-11.45pm Reappraising Musical Works Online – Chair Jennifer Ronyak (University for Music and Performing Arts, Graz)
1. ‘Keeping Faith in ‘An die Musik’ Today? A 2020 Sequel.’ Frankie Perry (Royal Holloway, University of London)
2. ‘Singing Schubert’s ‘Erlkönig’ Dramatically: Designing an Experiment to Examine Responses of Contemporary Musicians and Audiences with Streaming Performances.’ Louis De Nil (Royal College of Music, London)
3. ‘Artfully Interrupting the Fantasy: Reimagining Ravel’s Asie.’ Abigail Sin, Jade Tan, Sulwyn Lok (Yong Siew Toh Conservatory of Music, National University of Singapore)
12-12.45pm Song Composition Online – Chair Philip Bullock (University of Oxford)
4. ‘Collaborative Art Songs in Fixed, Hybrid and Modular Media.’ Arian Bagheri Pour Fallah (Jagiellonian University, Krakow)
5. ‘’I Possess No Address’ – The Cycle of Song.’ Chen Zhangyi, Shridar Mani (Yong Siew Toh Conservatory, National University of Singapore)
1-2pm ROUND-TABLE Q&A with Helen Charlston, Heloise Werner, Simon Lepper, Roderick Williams – Moderated by Natasha Loges (Royal College of Music, London)
2.30-3.30pm Reflections on Performance – Chair Nicole Panizza (Coventry University)
6. ‘Singing by Myself – Lieder during the Lockdown.’ Tim Langston (Goldsmiths, University of London)
7. ‘Performers’ Reflections on (Re)Creating Performances in Online Context’ Verica Grmusa (Goldsmiths, University of London)
8. ‘Social DistanSong: Art Song in a Pandemic.’ Stewart Campbell (University of Birmingham)
15 mins discussion
3.30-4.00 Closing words and discussion – Chaired by Laura Tunbridge
DATE: February 12th, 2021
DEADLINE FOR APPLICATIONS: December 7th, 2020
The Art Song Platform inaugural event, Traditions and Current Practices, held in May 2019 at Goldsmiths, University of London, brought together a broad range of scholars and performers. Among the themes that dominated discussions were the genre’s cultural work, different performance contexts and use of media. The global Covid-19 pandemic and the resulting lockdown have brought these into spotlight. Digital streaming of recorded or live music events are now the main platform and point of access for both performers and audiences, in some ways bringing the art song once again back to its domestic origins.
This online study day explores the impact of digital technology on the performance and reception of art song. As well as issues concerning performance, we invite papers exploring historical, psychological, sociological, cultural and economic aspects pertaining to art song, its audiences and institutions in digital formats. The event aims to bring together scholars and performing artists. Applications from PhD students and early career scholars/performers are encouraged.
The live event will consist of group discussions, individual papers/presentations and lecture recitals (with provisional option for pre-recorded sessions followed by live discussion). We encourage presentations about performers’ experiences, video examples from performances, reviews of online events etc. The study day will end with an hour-long Q&A session with leading performers and promoters of art song covering the main topics of the event.
Presentations will be welcomed on a range of topics including, but not limited to:
- Performance of the repertoire (issues concerning programming, contexts, settings, collaborations, marketing, technology)
- Composition and performance of new repertoire, including collaborations between composers and performers
- Historical perspectives (changes in art song performance practice, art song during global crises)
- Use of media – issues emerging from live, all-digital and the emerging hybrid performance formats blurring further the boundaries between ‘mediatised’ and ‘live’ art song
Duration of presentations:
– Individual papers: 15minutes, followed by 15 minutes of discussion.
– Performers’ reflections: 15minutes, followed by 15 minutes of discussion.
– Lecture recitals: 20 minutes, followed by 10 minutes for questions from the audience.
– Group discussions: 30 minutes.
DEADLINE FOR APPLICATIONS:
Abstracts of c.300 words and a short biography of c.150 words should be submitted for all proposals by December 7th, 2020, to the following email address: email@example.com
Please indicate the type of presentation you are proposing and, if appropriate, the name(s) of the performers involved.
Applicants will be notified of the outcome by December 11th, 2020.
Stewart Campbell, University of Birmingham
Dr Verica Grmuša, Goldsmiths, University of London
Dr Natasha Loges, Royal College of Music, London
Professor Laura Tunbridge, University of Oxford