IMS2019 Lucerne: Agency and Identity in Music

The IMS in collaboration with the Lucerne University of Applied Sciences and Arts, School of Music is organizing an IMS Intercongressional Symposium on the topic “Agency and Identity in Music” in Lucerne, Switzerland, from July 7 to 10, 2019.

Important notice: During the conference the IMS will be holding an Extraordinary General Assembly to which all IMS members will be invited in due time.

Visit for more details: https://www.musicology.org/ims2019

Location: Lucerne, Switzerland

Date(s): Sunday, July 07, 2019 – Wednesday, July 10, 2019

Institute for Russian Music Studies 2019 Annual Conference

July 9-12, Vipiteno, Italy

Symbols, Signs, and Meanings in Russian Music

special focus session “Sex, Gender, and the Erotic in Russian Music”

Additionally: special sessions to commemorate 180thMusorgsky anniversary and 175thRimsky-Korsakov anniversary (papers invited).

Keynote speaker – Richard Taruskin (UC – Berkeley)

Two IRMS 2019 Prizes will be awarded: for the best junior scholar paper and the best student paper.

The conference of the Institute for Russian Music Studies (IRMS) is hosted in Vipiteno July 9-12, 2019 (July 8 arrival – July 13 departure) under the auspices of the Orfeo Music Festival and the municipality of Vipiteno. 

Scholars and students of Russian music from around the world are invited to submit paper proposals of new research in Russian music and panel discussion proposals. The committee will select papers of special interest for conference presentations and panel sessions.Papers are planned as 20 min. presentations followed by short discussions. Papers will be considered for publication as a collection of articles. The official languages of the conference are English and Russian (with provided English translation).

March 1: 1) Deadline for 300-400-word abstract. Include title of proposed paper, the state of research field and the contribution of the paper to the field. 2) Your 100-word biography, digital headshot, name, institutional affiliation or independent scholar status and your contact information. Email to: InstituteRMS@gmail.com.

April 1: Paper acceptance notifications sent out. The committee will finalize the decision on the papers included in the conference by the end of March and will inform the contributors immediately thereafter. 

April 1 – May 31: Registration open on the website. Fees: €160/$195 for 4 days (includes lunch, Early Registration from $150 by 2/28); €50/$60 for 1 day (includes lunch); €35/$40 – conference dinner (student rates are discounted and posted on the website). Further information about travel, accommodation and conference schedule will be posted on the website by March.

The Institute for Russian Music Studiesis an international learned society devoted to the advancement of Russian music scholarship. The main activity of the society is its annual conference conducted in the relaxed atmosphere of the Italian Alps for participants from Europe, Russia, Americas and Asia that includes representatives of institutions of higher learning, scholars, and graduate students.

Conference Board

Ada Aynbinder (Tchaikovsky State Museum-Reserve, State Institute for Art Studies, Russia)

Philip Ross Bullock (University of Oxford, UK)

Olga Digonskaya (Shostakovich Archive, Russian National Museum of Music, Russia)

Emily Frey (Swarthmore College, USA)

Marina Frolova-Walker (Cambridge University, UK)

Larisa Jackson (University of Houston – Downtown, USA; OMF, Italy)

Simon Morrison (Princeton University, USA)

Website: https://www.orfeomusicfestival.com/registration-conference-irms-2018

Email:InstituteRMS@gmail.com

International Women and/in Musical Leadership Conference

7-8 March 2019 (International Women’s Day 2019)

Institute of Musical Research, London

Proposal Submission Deadline: 30 November 2018

Conference website: http://fass.open.ac.uk/iwmlc

Keynote Speaker: Jenni Roditi

Musical leadership remains ones of the most male-dominated musical areas. As late as 2013, female conductors achieved a significant first, when Marin Alsop became the first woman to direct the Last Night of the Proms. Although female composers, songwriters, and performers have attracted significant scholarly attention, the issue of women’s musical leadership remains intriguingly under researched. This conference – timed to coincide with International Women’s Day 2019 – seeks both to redress this by focusing upon the participation of women in musical leadership (understood in the broadest possible sense) and to promote academic-practitioner dialogue.

In addition to a keynote address by leading practitioner Jenni Roditi, the conference will also feature a roundtable debate, and two evening performances at London’s Club Inégales. Club Inégales have, since 2011, presented some 100 gigs with artists from around world music-traditions collaborating with resident band Notes Inégales, who draw players from across genre. The first evening will be hosted by club director and composer Peter Wiegold, who usually uses a mixture of score, conduction and improvisation. This evening, along with working with new scores by female composers, former Academy Inégales female graduates will be invited to lead the band. The second evening performance will be from Tic, Roditi’s professional improvisers’ choir, led by Roditi.

Proposal Submissions

We invite contributions on any aspect of women and/in musical leadership. Particular topics which papers might cover include, but are not restricted to:

• women conductors and/or impresarios (contemporary or historical);

• all-woman orchestras or choirs;

• all-woman entertainment orchestras/jazz bands/swing bands/dance bands;

• women leading music for worship (embracing all sacred or spiritual practices);

• women leading amateur musical ensembles;

• women leading ensembles and other practical music-making activities within music educational settings;

• women leading improvisation/soundpainting.

Contributions are invited from both scholars and practitioners.

Proposals are invited in the following formats:

individual/co-authored papers (20 minutes with 10 minutes for discussion);

themed sessions (of three or four papers, 20 minutes each with 10 minutes each for discussion)

practice-based sessions (40 minutes with 20 minutes for discussion);

poster presentations;

pecha kucha.

We particularly invite contributions from Early Career Researchers, who might particularly like to consider poster presentations or pecha kucha.

Proposals for individual/co-authored papers, practice-based sessions, poster presentations, and pecha kucha should be a maximum of 250 words long. Proposals for themed sessions should be accompanied by a 250-word overview of the session, along with 250-word proposals for each individual paper.

Please send proposals as an anonymous Word document to laura.hamer@open.ac.uk by 30 November 2019. Please ensure that you name and institutional affiliation (where appropriate) are included in the body of your email, rather than the proposal itself.

Bursaries:

A limited number of bursaries are available for students and scholars lacking access to alternative sources of funding. If you would like to be considered for a bursary, please indicate this in the email accompanying your (anonymous) proposal. Please also include a brief CV (no more than two A4 pages).

Receiving a bursary is conditional upon presenting at the conference.

Programme Committee:

Rebecca Berkley (University of Reading);

Enya Doyle (Durham University);

Laura Hamer (Open University, Co-Chair);

Nuppu Koivisto (University of Helsinki);

Helen Julia Minors (Kingston University, Co-Chair).

The Programme Committee acknowledge generous support from the IMR and the Open University.

Please do get in touch if you have any queries,

Yours,

Helen and Laura

Music and Democracy: beyond Metaphors and Idealization

21 June 2019

University of Huddersfield

https://musicdemocracystudydays.wordpress.com

Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield) Keynote speaker: Esteban Buch (CRAL/EHESS, Paris)

Democracy has been an ideal for musicians throughout the twentieth century and into the twenty-first. Musicians working in fields including modern composition, jazz, improvisation, orchestral social inclusion projects, and online networked performance have been drawn to democracy as a metaphor and ideal for legitimising their practice. How are we to understand such appeals to the concept of democracy, in the musical field? Although the concept of democracy tends spontaneously to arouse approval and adherence, consideration should be given to the great diversity of uses that have been made of it (and continue to be made nowadays), the multiplicity of forms of democracy, and the historicity of democratic systems. These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different ‘ideas’ of democracy. Therefore, a careful scrutiny of what ‘democratic’ means and a close analysis of the relations being produced, for whom, and why, seem necessary in each particular case.

Building upon the conference ‘Finding Democracy in Music’, held at the University of Huddersfield in September 2017, this study day – the first one of a series of three – aims to interrogate what Georgina Born has termed ‘the experimental and novel socialities, imagined communities and social and institutional conditions summoned into being’ by ‘democratic’ forms of music-making. What is the nature of a ‘democratic ideal’ in music (or art-making more widely)? What is achieved, politically, by rethinking the way in which music is made? When does such rethinking affect the wider domain of social relations, and when does it not? If democratic music-making can help with the wider democratisation of social life, how does it do so? When and how is ‘democratic’ music more than just a metaphor?

We invite proposals from scholars working in any discipline for papers exploring these and related questions in relation to any musical practice. Papers will be 30-minutes in length with 15 minutes of discussion time, to enable the fullest exchange. Please submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by the deadline Thursday 31 January 2019. The programme will be announced in early March.

Leopold Mozart and Life in the Age of Enlightenment

Call for Papers

The Academy for Mozart Research of the Mozarteum Foundation Salzburg plans an international conference in Salzburg from 4 to 6 April 2019. The theme of the conference is

Leopold Mozart und die Lebenswelt der Aufklärung

Gesellschaft – Bildung – Kultur

Leopold Mozart and Life in the Age of Enlightenment

Society – Education – Culture.

The conference is also open to all current topics of Mozart Research. Conference papers will be published in the Mozart-Jahrbuch.

Abstracts of no more than 200 words in any of the conference languages (German, English, Italian, and French), a short CV, and contact details should be sent by 30 November 2018

– by mail to: conference@mozarteum.at

– or by post to: Akademie für Mozart-Forschung, Stiftung Mozarteum Salzburg, Schwarzstraße 26, A-5020 Salzburg, Austria

A decision on acceptance will be made by the end of December 2018.

Auditors are welcome to all paper sessions at no charge; please register in advance at conference@mozarteum.at.

Prof. Dr. Ulrich Konrad

Chair, Academy for Mozart Research

Music and Materialisms: A Free One-day Conference

Saturday 23rd February 2019,

Visconti Studio, Kingston University

Keynote Speaker: Prof. Eric Clarke (University of Oxford)

D/L FOR PROPOSALS: 10 DECEMBER 2018

RESERVE FREE TICKETS HERE

We are delighted to announced a call for proposals for one day conference discussing issues surrounding music and materialisms. The conference will be held at the Visconti Studio at Kingston University on Saturday 23rd February. A full version of the call, including detailed submission instructions can be read online here.

INFO:

This transhistorical conference seeks to draw together scholars interested in using such frameworks to challenge existent ontologies of sound and sound-making. The conference organisers are particularly interested in contributions relating to music and materialism as relating to the following themes:

Power: Material inscriptions of power; The foregrounding or loss of questions about power/inequalities in different materialist approaches; Politics of making; feminist and queer materialisms; Forms of organisation;

Bodies: The body in performance and reception; The place of the senses (beyond hearing); Affect; Materiality of performative acts; Explorations of bodies/genders in performance; Embodiment and materiality limits; Interfaces; Touch and materiality;

Notation: Role of the score as a “script” for performance; Material indeterminacy; Participatory music-making and politics of performance; The score as a material object; New notational approaches;

Histories: The history of material objects; Historical dimensions of materialist theories themselves – why materialisms, and why now? Is it possible to conceive of history without a place for materiality?;

Culture: Organology; Museology; Curatorial practices; Analysis of physical objects and social meanings; Imagery; Mediation of material objects in practices of production; Dissemination; Consumption; Simulation; computational technology and non-parametric notions of making;

Ontology: Beyond representationism; Non-repeatability; Actuality of musical sound vs. nothingness; Post-sapien/post-humanism; Notions of flux; Indeterminacy,

The conference organisers welcome proposals for contributions in a variety of formats. Papers (20 minutes), artistic reports, performances, lecture-recitals, and interactive demonstrations (along with other formats of the proposer’s devising) are all welcome.

DEADLINE FOR PROPOSALS: 10 DECEMBER 2019.

Successful applicants will be notified by 11 January 2019

If you wish to attend, please reserve your free ticket asap via EventBrite here. Please direct all other enquiries to musicandmaterialism@gmail.com

Regards,

Prof. Isabella van Elferen, Kingston University

Dr Matthew Sergeant, Bath Spa University

Dr Samuel Wilson, Guildhall School of Music and Drama

Conference Organisers

Italian Musical Migration to the British Isles, 1700-1950

CALL FOR PAPERS – DEADLINE 10 DECEMBER 2018

‘ITALIAN MUSICAL MIGRATION TO THE BRITISH ISLES, 1700-1950’
University of Birmingham, 10 April 2019

academia.edu/37647753/Italian_Musical_Migration_to_the_British_Isles_Birmingham_April_19_CFP

The study of migration and mobilities is crucial to the modern histories of Britain and Italy, and especially their complex artistic exchanges. This one-day conference will shed light on this interdisciplinary field of investigation by focusing on Italianmusical migration to the British Isles from the eighteenth century to the Second World War. It aims to provide a new critical overview of the diffusion of Italiansinging culture and instrumental music in British theatres and concert halls, the migration of Italian-born musical professionals and entrepreneurs to the British Isles, and the publication of Italian scores by British publishers. The long time period will help to create a sense of the profound impact of these musical transfers and networks on British politics and society, on the institutionalisation of national and regional identities in modern Europe, and on the development of Italian cultural diplomacy and colonialism following the Unification (1861).

Potential topics include:
• The biographical and professional trajectories of Italian-born singers, composers, performers, virtuosos, impresarios, librettists, stage designers, conductors, prompters, and street musicians active in the British Isles from 1700 to 1950, and their impact on local policies and institutions.
• The diffusion and reception of Italian music in British theatres and concert halls and the activities of Italian opera companies and musical associations in the British Isles.
• British musicians and artists trained or educated in Italy.
• The circulation of Italian music-related goods, items, instruments and tools.
• Patterns of mobility, routes of travel, networks and Anglo-Italian cultural transfers from a transnational perspective. This may include reflection on issues of territory, borders, national and regional identities, gender, religion, cultural diplomacy and colonialism.
• The relation between the Italian musical migration to the British Isles and the first Italian diaspora as a mass and global phenomenon, especially in the late nineteenth and early twentieth centuries. This could also involve comparison with different artistic migrations from Italy (e.g. to different countries or continents in the same epoch).

Abstracts for 20-minute papers (max 300 words) and short biographies (max 150 words) should be sent to italianmigration2019@gmail.com by Monday 10 December 2018. Interdisciplinary approaches and paper proposals from early career researchers would be particularly welcome. The programme committee will communicate its decisions by Monday 14 January 2019.

The conference will be free to attend. A small number of travel and accommodation bursaries, generously provided by the Institute of Musical Research, will be available to doctoral candidates, early career researchers and independent scholars who cannot obtain institutional support. Potential recipients should send a short statement giving their rationale.

INVITED SPEAKERS:
Susan Rutherford (University of Manchester), Alexandra Wilson (Oxford Brookes University), Flora Willson (King’s College London)

CONVENERS:
Nicolò Palazzetti and Ben Earle

PROGRAMME COMMITTEE:
Ben Earle (University of Birmingham), Matthew Gardner (University of Tübingen), Federica Nardacci (Royal College of Music), Nicolò Palazzetti (University of Birmingham), Rupert Ridgewell (British Library), Amelie Roper (British Library).

——
Contact:
Dr Nicolò Palazzetti (University of Birmingham/Institute of Musical Research)
nicolo.palazzetti@hotmail.it
birmingham.ac.uk/staff/profiles/music/palazzetti-nicolo.aspx

Patterns – Models – Dеsigns

INTERNATIONAL CONFERENCE

ART READINGS 2019

NEW ART MODULE

Institute of Art Studies,

Bulgarian Academy of Sciences,

Sofia

Patterns – Models – Dеsigns

April 8–9, 2019

Creative practices that precede the coming into life of the work of art and the ways in which the initial spark is visualized in the process, are the focus of the New Art Module of the Art Readings’2019 conference. To outline the contours of the essence of creation is a challenging goal that has stimulated a number of scientific disciplines to develop their own perspective to its interpretation. Research interests motivated by the postmodern view of the art world have so far neglected or even ignored the analytical approaches that gravitate around the tactile matter of the working practice of artists. Conceptual sketches, preparatory drawings and sounds, volumetric models, rhythmic patterns are the objectivated – hence empirically approachable – projection of the otherwise shrouded in a mystical halo art creation. The New Art Module aims at bringing forward and discussing the spectrum of preparatory approaches and techniques of arts.

The thematic scope of the New Art Module assumes but is not limited to the following aspects of the topic:

–     from idea to matter: creative assignment or brief and its interpretation, transforming texts into images, transfiguration of ideas into forms, dynamics of client–artist interrelations, dialectics of order and realized art work;

–     from variant to invariant: approaches and algorithms in creating preliminary variants of the work of art, paradigms in unfolding the entry idea, variations in the process of image re-creation, cross-pollination of working methods and tools between arts;

–     from amorphous to concrete: technologies and techniques for visualizing creative concepts at the work stages, typology of the models of the future work of art, contemporary application and modification of traditional means and tools, computer-based methods for pre-creating art works.

International editorial board:

Prof. Adrian-Silvan Ionescu, PhD, Director of the Institute of Art History “G. Opresku” – Romanian Academy of Sciences, Romania

Assoc. Prof. Elvira Popova, PhD, Autonomous University of Nuevo Leon, Monterrey, Mexico

Prof. Fani Vavili-Tsinika, PhD, Aristotle University of Thessaloniki, Director, Dept. of Architectural Design & Technology, School of Architecture, Faculty of Engineering, Greece

Prof. Marina Frolova-Walker, PhD, Music History, University of Cambridge, Director of Studies in Music, Clare College, UK

Prof. Yana Hashamova, PhD, College of Arts and Scienses at the Ohio State University, USA

Prof. Kamelia Nikolova, D.Sc., National Academy of Theatre and Film Arts, Institute of Art Studies, BAS Sofia, Bulgaria

Prof. Milena Bozhikova, D.Sc., Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Milena Georgieva, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Nadezhda Marinchevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Prof. Vesselina Penevska, PhD, Institute of Art Studies, BAS, Sofia, Bulgaria

Deadlines: 01.10.2018 – deadline for paper abstracts and applicants’ short bio; 15.11.2018 – informing potential participants for the result of their application; 01.03.2019 – deadline for announcing Conference programme.

Send your abstract and a short CV to:

for fine arts: mggeorgieva@mail.bg

for music: mbojikova@yahoo.com

for theatre: kamelian@hotmail.com

for cinema: nadmih@yahoo.co.uk

for architecture: veselina.penevska@consultant.bg

Please, send a copy to: infoartstudies@gmail.com

Art Bands, DiY Music and Cultural Identity in an Age of Transnational Mobility

Conference

21.09.2018, 9:30-18:00
£12 / £8 concessions (students/unwaged/OAP)
Book here: https://store.rdg.ac/Euronoize2018

This conference is the first iteration of EuroNoize, a collaborative project held between the University of Reading, Kunsthall Oslo and A.R.E. Prague and funded by the European Commission. The project aims to explore the history and existing practices of the DiY music scene in Europe and beyond, to evaluate this particular form of artistic production alongside other contemporary aesthetic modes, to consider its historical and current relationship to art education (the art band emerging from art school) and to consider the social, economic and cultural structures that shape it in the present. In this context, we will be exploring the relationship between a global (predominantly Anglo-Saxon) culture industry and localised and independent nodes of production. This one-day conference is serve as a starting point in generating a theoretical discussion around an artistic and musical genre that is rarely given enough attention in art criticism.

Speakers

Philip Auslander
Bryan Biggs
Chris Bohn
Paula Guerra
Sarah Lowndes
Pil and Galia Kollectiv
Stephanie Phillips
Simon Reynolds
Matt Worley

Venue

University of Reading
Madjieski Lecture Theatre
Room RGL04
Agriculture Building

Travel Information
Download Map

About EuroNoize

EuroNoize is a project researching the relationship between art and DiY music scenes in Europe across several platforms. At the heart of the EuroNoize project is an alternative music showcase modeled on the Eurovision Song Context, in which musicians will be invited to consider the interplay of local and global identities in representing their country with a specially commissioned song and video. The live event in London will be streamed online and broadcast at partner venues. Viewers will be able to vote digitally for the winning entry. This is accompanied by a conference at the University of Reading, exploring the histories connecting DiY music and the visual arts and investigating the challenges inherent in formalising the informal networks upon which this cultural activity is built. Conference proceedings will lead to a publication in which these themes will be expanded. Finally, the music produced for this live event will be released as a record and disseminated internationally together with the book and an exhibition at Kunsthall Oslo. The project’s explicit aim is to think of and implement strategies and modes of cooperation between art institutions, DiY musicians and internally between various bands across the continent to facilitate the continuation of these often short-lived practices. In doing so, the project investigates the way European co-operation transcends borders and raises questions about the meaning (and sound) of cultural identity in an age of transnational mobility.

More information
www.euronoize.eu

Contact

info@euronoize.eu

Oper im Wechselspiel der Medien: Transformationsprozesse der Oper durch Digitale Medien und das Filmische/Audi-Visuelle in Zeiten von Krisen und Reformen

Veranstalter:                          Bayerische Akademie der Wissenschaften

Veranstaltungsort:                  Bayerische Akademie der Wissenschaften, München

Veranstaltungsdatum:            17. Januar 2019

 

Call for Papers

Der aktuelle Krisendiskurs europäischer Theater und Musiktheater befasst sich neben Fragen zur Finanzierung und zum demographischen Wandel u.a. auch mit den Herausforderungen, die die rasante Entwicklung der Neuen Medien hervorbringen.[i]Daher widmet sich dieser Workshop der Frage: Welche Rolle spielen die Digitalen Medien und das Filmische/Audio-Visuelle bei den Transformationsprozessen der Oper als Gattung und Institution?

 

Themenkomplex A: Transformationsprozesse in der Oper als Institution

Héctor Pérez, Associate Professor für audio-visuelle Kommunikation und Ästhetik, konstatiert, dass nach den 1990er Jahren nun eine zweite Phase der Bedrohung von live Opernaufführungen durch audiovisuelle Technologien anstehe und verweist damit auf eine für diesen Workshop zentrale und kontrovers zu diskutierende Debatte. Dabei sei auf der einen Seite auf die neuesten Streaming-Möglichkeiten von Opern, wie z.B. durch die digitalen Angebote der MET verwiesen und auf der anderen Seite auf die neue Mobilität der Verwendung von Streaming-Angeboten auf Computern, Tablets oder Smartphones.[ii]

Die Musikwissenschaftler*innen Carolyn Abbate und Roger Parker diskutieren kritisch die Bedeutung des Internets als neues und sich permanent erweiterndes „easy access“-Archiv von internationalen Opernaufführungen (historisch und aktuell). Während Abbate/Parker negativ hervorheben, dass die Hoffnung auf ein neues Publikum, durch die mediale Präsenz im Internet nicht erfüllt werde,[iii]artikulieren gerade kleinere Operngesellschaften, wie z.B. wie die kanadische City Opera Vancouver oder Tapestry Opera, durchaus positive Effekte durch soziale Medien. Sie verweisen sowohl auf eine erhöhte Visualität des Operngenres und ihrer eigenen Produktionen als auch auf eine bessere Kommunikation mit ihrem Publikum.[iv]

Mit Blick auf die Institutionen stellen sich somit folgende Fragen: Wie werden digitalen Medien (Streamings von Mitschnitten, Making Offs, Trailern auf Homepages und in sozialen Netzwerken) durch Operngesellschaften und Komponisten für neue Vermarktungs- und Kommunikationsstrategien eingesetzt? Wer nutzt welche Kanäle? Haben Operngesellschaften eine multi-channel bzw. multi-platform Strategie?

 

Themenkomplex B: Transformationsprozesse der Oper als Gattung

Carolyn Abbate und Roger Parker suggerieren, dass die Oper aktuell womöglich einen evolutionären turn zum Filmischen nehme und eine „art-for-the screen“ werde. Sie beobachten dies sowohl in den Operninstitutionen selbst, die institutionell Internetstreamings HD-Übertragungen verwenden, als auch bei neuen Konzeptionsformen von Opern, die sich am Filmischen orientieren.[v]Im Workshop soll erörtert werden, welche ästhetischen Verfahren verwendet werden und welche neuen (Hybrid-)Formen für die Bühne, DVD oder das digitale Netz entstehen können.

Um den neuen Facettenreichtumanzudeuten, sei hier nur exemplarisch auf die Inszenierung der Zauberflöte mit Elementen des Stummfilms und des Comicromans an der Komischen Oper Berlin durch den Intendanten Barrie Kosky und die britische Theatertruppe „1927“, die opera-documentary Fig Treedes kanadischen Regisseurs John Greyson, die südafrikanische, filmische Adaption Unogumbe – Noye’s Fludde des „Isango Ensembles“, die Vocaloid Opera The Ende am Theatre du Chatelet in Paris, die Internetoper Die Affäre Manondes Gelsenkirchener Musiktheaters oder die interaktive Musiktheater PerformanceA Magnificent Crossbreeding of Protein and Tinplatevom Attenborouch Centre for the Creative Arts verwiesen.

 

Themenkomplex C: Transformationsprozesse der Aufführungskultur und Rezeption

Mit den neuen Formaten und ihrer neuen Ästhetik stellt sich auch die Frage nach neuen Rezeptionsweisen und deren soziokulturellen Dimensionen. Welches Potenzial haben digitale Medien für einen Wandel im Opernpublikum? Ob und in welcher Form findet ein Wandel der musiktheatralen Aufführungskultur im Sinne des Theaterwissenschaftlers Wolf-Dieter Ernst statt?[vi]Und kann dies zu einem Wandel des Operndiskurses als Elitenkultur führen?

 

Es wird besonders zu Vorträgen eingeladen, die sich folgenden Aspekten widmen:

 

  • Digitale Medien in Opernaufführungen / Konzeptionsformen von Opern, die sich am Filmischen orientieren
  • Neue (Hybrid-)Formen von Opern und ihre neuen Rezeptionsweisen
  • Medienästhetik möglicher Hybride
  • Wandel musiktheatraler Aufführungskultur
  • neue Vermarktungs- und Kommunikationsstrategien von Operninstitutionen in und außerhalb Europas
  • Public-Screenings, digitale Angebote der MET / Streaming-Angebote
  • Potenzial medialer Innovationen für freie Opernszene
  • Wandel des Operndiskurses als Elitenkultur durch mediale Innovationen

 

Bitte senden Sie Abstracts (max. 2000 Zeichen) für einen 20minütigen Beitrag im thematischen Rahmen des Workshops und die Angabe der benötigten technischen Voraussetzungen für den Vortrag, sowie eine Kurzvita (max. 500 Zeichen) inklusive Kontaktdaten bis 8. Juli 2018 per E-Mail an Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Gleichermaßen willkommen sind Beiträge aus den Geistes- und Sozialwissenschaften (Musik-, Medien-, Theater- und Kulturwissenschaft). Nachwuchswissenschaftler*innen seien nachdrücklich zu einer Bewerbung aufgefordert. Die ausgewählten Referent*innen werden bis zum 15. Juli 2018 benachrichtigt und das Konferenzprogramm unter http://www.badw.de/veranstaltungen.htmlund http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.htmlonline veröffentlicht. Für die ausgewählten Referent*innen können voraussichtlich im begrenzten Umfang die Reisekosten (im Inland) sowie die Übernachtungskosten erstattet werden.

[i]Vgl. DFG-Projekt „Krisengefüge der Künste“ (http://www.theaterwissenschaft.uni-muenchen.de/forschung/krisengefuege/index.html), Internationale Konferenz: „Systemische Krisen im europäischen Theater“ (https://www.goethe.de/ins/gb/de/ver.cfm?fuseaction=events.detail&event_id=21131063), Sarah Zalfen,Staats-Opern? Der Wandel von Staatlichkeit und die Opernkrisen in Berlin, London und Paris am Ende des 20. Jahrhunderts, München / Berlin 2011 (Die Gesellschaft der Oper. Musikkultur europäischer Metropolen im 19. und 20. Jahrhundert, 7), Vorwort.

[ii]ebd. S. 7-8.

[iii] Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015,S. 549ff.

[iv]Vgl. Richard Turp / Vincent Turp, Terms of Engagement: As New Technologies Redefine the Way We Communicate, Opera Companies Are Tuning Their Marketing Programs into the Fast Paced World of Social Media, in: Opera Canada 58 (2017), Nr.1, S. 33-37.

[v]Vgl. Carolyn Abbate / Roger Parker, A history of opera: the last four hundred years, London u.a. 2015, S. 565.

[vi]Vgl. Wolf-Dieter Ernst, Institutionelle Dramaturgie und digitale Oper,in: Die Musikforschung (2016), Heft 4, S. 380–392, hier S. 387.