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.

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Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720

Call for Papers:
Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720

Deadline: June 30, 2018

The international conference Modes, Church Tones, Tonality: Tonal Spaces, c. 1550 – c. 1720 will be held at the University of Ferrara, Italy, 8­–10 November 2018.

Academics, researchers, and postgraduate students are invited to submit papers on the following areas of interest:

·         Tonal types and modes in late 16th-century polyphony;
·         Church tones in theory and/or practice;
·         Thorough bass in theory and/or practice;
·         Relations between style and tonal space in the 17th century;
·         Instrumental music between the 17th and 18th centuries;
·         Theories of tonality up to c. 1720

Proposals for 30-minute papers in Italian, English, Spanish, German, and French are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), email address(es), title of presentation, abstract (max. 300 words), short CV(s), and a list of technological requirements (video projector, audio, etc).

All proposals must be submitted by June 30, 2018 to marco.mangani -at- unife.it, specifying “Conference in Ferrara – Proposal” in the subject field (mandatory).

Scientific Committee:  Michael Dodds (University of North Carolina School of the Arts), Marco Mangani (University of Ferrara), Massimo Privitera (University of Palermo), Daniele Sabaino (University of Pavia – Cremona)

‘SotonMAC 2019’ and the Music Analysis Summer School 2019

We are delighted to announce that the Department of Music at the University of Southampton will be hosting the Society for Music Analysis’s International Music Analysis Conference on 29-31 July 2019 (‘SotonMAC 2019’). We are equally delighted to announce that this will be preceded by a Music Analysis Summer School for postgraduate students and early career scholars on 27-28 July 2019. Further details will be announced in Autumn 2018.

North American British Music Studies Association Eighth Biennial Conference

Registration available here: https://nabmsa.org/product-category/2018-biennial-conference/

the conference website here: https://nabmsa.org/conferences/2018-biennial-conference/

The North American British Music Studies Association will hold its Eighth Biennial Conference from Monday, 30 July to Wednesday, 1 August 2018, in Logan, Utah, hosted by Utah State University. the programme boasts sessions reaching from seventeenth-century music to jazz, and from cross-atlantic collaborations to a performance of Vaughan Williams’s Sancta Civitas.

Overlooking the magnificent Cache Valley with the Wellsville Mountains looming to the west, USU is consistently recognized as one of the most beautiful college campuses in the US. It is also home to the Caine College of the Arts and boasts fantastic performance facilities including the Caine Performance Hall, and the newly renovated Daines Concert Hall. The campus sits at the mouth of Logan Canyon which offers a myriad of outdoor activities which are just minutes away.

Registration is now open.

Ninth International Conference Music /Sonic Art: Practices and Theories

Ninth International Conference

Music /Sonic Art: Practices and Theories

 

At the Interface of Practice and Theory: Revisiting the Artistic Research Debate

 

MuSA 2018 – Karlsruhe (IMWI)

28 June – 1 July 2018

 

Hochschule für Musik, Karlsruhe –

Institut für Musikwissenschaft und Musikinformatik (IMWI)

Am Schloss Gottesaue 7, 76131 Karlsruhe

 

 

CALL FOR PAPERS:

We are pleased to announce the Ninth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2018), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) (http://www.hit-karlsruhe.de/hfm-ka/imm/).

 

Conference dates:28 June – 1 July 2018

 

Keynote speaker: Markus Noisternig, IRCAM

 

 

Deadline for abstract submission: Friday, 27 April 2018.

 

Proposals for sessions and individual papers for the Ninth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be ‘blind’ peer-reviewed. The conference language will be English.

 

 

THEME AND TOPICS:

 

The theme of MuSA 2018 is At the Interface Between Practice and Theory: Revisiting the Artistic Research Debate. The last decade has witnessed the establishment of artistic research in Music and Sonic Art as an original approach that brings together theory and practice. While much has been written about the integral role of artistic practice in this kind of research, much remains to be learned from exploring the multiple ways in which theory and practice can be brought to bear on each other.MuSA2018aims to explore the interface between theory and practice in the context of artistic research. We invite submissions on the following, and other relevant topics, in relation to the theory-practice interface in the context of artistic research:

 

  • Conceptual and non-conceptual processes
  • Multimodality
  • Know-that and know-how
  • The role of the subjective dimension
  • Role of technology
  • Embodied processes
  • Value judgments
  • New knowledge and insights

 

 

Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

 

As in previous MuSA conferences MuSA 2018 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing on the origination, making and playing of musical instruments.

 

Some of the topics that will be explored during this one-day event include:

 

  • The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
  • The discourses that exist in relation to musical instruments in different genres, styles and traditions;
  • The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
  • Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
  • Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
  • Relationships between creativity in performance, nature of musical interpretation and musical instruments;
  • The role of the musical instrument in the creation of musical identities;

 

We also invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

 

 

ABSTRACT FORMAT:

Please submit an abstract of approximately 250-300 words as an e-mail attachment to j.dack@mdx.ac.uk

 

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 27 April 2018. Notification of acceptancewill be sent by 11 May2018.

 

REGISTRATION:

The conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

 

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the conference committee:

 

Prof. Dr. Mine Doğantan-Dack – md787@cam.ac.uk (University of Cambridge)

 

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) – troge@hfm.eu

 

Dr. John Dack (Middlesex University, UK) – j.dack@mdx.ac.uk

 

Prof. Miroslav Spasov (Keele University, UK) – m.spasov@keele.ac.uk

 

Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) – schumacher@hfm-karlsruhe.de

 

Prof. Dr. Marc Bangert (IMWI, Karlsruhe) – bangert@hfm.eu

 

Prof. Damon T. Lee DMA (IMWI, Karlsruhe) – damon.lee@hfm.eu

 

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) – pfl@hfm.eu

 

Patrick Borgeat (IMWI, Karlsruhe) – borgeat@hfm.eu

 

Timothy P. Schmele (IMWI, Karlsruhe)  – t.schme@gmail.com

 

Administrative support: Gundi Rössler (IMWI, Karlsruhe) – roessler@hfm.eu

 

 

 

Ligeti: a Portrait with Reich and Riley

The Association “Transylvania Art and Science”, Cluj-Napoca, Romania

in collaboration with

Gheorghe Dima Music Academy Cluj-Napoca

 

is pleased to announce the International Conference

 

 

Ligeti: a Portrait with Reich and Riley

 

 

hosted at “I. Lapedatu” Hall of the National Bank of Romania, on 21 and 22 May, 2018.

The event is organisedwithin the Festival

 

A Tribute to György Ligeti in his Native Transylvania

(2ndedition)

Festival director: Bianca Ţiplea Temeş

 

The conference brings together contributors from Europe and the U.S., aiming to provide a scientific snapshot of musical minimalism, on the occasion of Ligeti´s 95thanniversary. Taking its title from one of Ligeti’s iconic pieces for two pianos – Selbsportrait mit Reich und Riley (und Chopin ist auch dabei), the conference will provide an insight into the subject of minimalism in Eastern and Western music, and its impact on Ligeti’s work.

The papers encompass a wide range of topics on Ligeti, Reich, Riley, Nancarrow, Kurtág, as well as various Romanian and Hungarian composers. The conference concludes with the presentation of the new book György Ligeti’s Cultural Identities, with the editors Amy Bauer and Márton Kerékfy.

We welcome participants from abroad to attend this event. If interested, please sendan email to the following address, mentioning your name and affiliation:

transylvania.art.science@gmail.com

As places are limited, applications will be considered in the order of their receipt. While attending the conference, participants will have a unique opportunity to stay in the culturally dynamic city of Cluj in the heart of Transylvania, where Ligeti started to study music.

 

 

 

Conference program:

Kofi Agawu– keynote speaker (Princeton University):
Rethinking Ligeti’s African Affiliations

Amy Bauer (University of California Irvine):

Codes, Constraints, and the Composition of Failure in Ligeti’s Keyboard Works

 

Manfred Stahnke(Hochschule für Musik und Theater Hamburg):

The Maximal Music of Ligeti

 

Felix Meyer(Paul Sacher Foundation Basel):

Mr. Hide and Dr. Seek: Conlon Nancarrow Meets György Ligeti

Pavel Puscas (Gh. Dima Music Academy Cluj-Napoca):
Maximalism vs. Minimalism. Ligeti and/or Kurtág

 

Pierre Michel(Université de Strasbourg):

Melody, Repetition and Periodicity as Symbols for a Certain Period beyond Cultural Differences. A Study of Parallelisms between Ligeti, Reich and Riley

 

Keith Potter(Goldsmith University London):

Tonality and Harmony in Steve Reich’s Music for 18 Musicians:what the Composer’s Sketchbooks Tell Us

 

Anna Dalos(Institute for Musicology, Research Center for the Humanities, Hungarian Academy of Sciences):

Experimentalism and Popularity: Young Hungarian Composers on the Path of Minimalism in the 1980s

 

Bianca Țiplea Temeș (Gh. Dima Music Academy, Cluj-Napoca):

Out of the loop? Romanian Minimalism

 

Anca Mihuț (Gh. Dima Music Academy Cluj-Napoca):

Practices and Theories in the Minimalist Type Stage Setting

 

Vlad Văidean (National University of Music Bucharest):

Hearing Voices: Speech Melody as Technique and Emotion in Steve Reich’s Music

 

 

 

 

 

 

10th Music and Media meeting

 Call for Papers 10th MaM meeting (Salamanca, June 2018)

 

Organization:

IMS Study Group “Music and Media” (MaM) and University of Salamanca

 

Location: University of Salamanca, Spain

 

Dates: 13-16 June 2018

 

 

Call for papers:

The 10th annual conference of the IMS study group “Music and Media” (MaM) will be held in Salamanca, Spain, concurring with the 11th edition of the international symposium La Creación Musical en la Banda Sonora. Both gatherings are part of the University of Salamanca’s 800-year celebration.

 

Academics, practitioners, and postgraduate students are invited to submit papers and/or panel proposals on the following areas of interest, including (but not limited to):

 

  • 2009-2018: a decade of studying the interaction between music and media – retrospectives & perspectives;
  • music and documentary film;
  • streaming media soundtracks;
  • new methodologies for studying soundtracks in all audiovisual media.

 

 

Proposals for 20 minute long papers in English are welcomed. Each submission should include the following information: author(s) name(s), academic affiliation(s), e-mail address(es), title of presentation, abstract (300 words max.), (a) short CV(s) and a list of technological requirements (overhead, powerpoint, etc).

 

All proposals must be submitted by 20 March, 2018 to e.wennekes [AT] uu.nl

 

Program committee:

Emilio Audissino (University of Southampton), James Deaville (Carleton University), Matilde Olarte Martínez (University of Salamanca), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University).

 

www.studygroupmam.com

 

Music and Musicology in the Age of Post-Truth

7-8 September 2018 University College Dublin

In recent months alternative facts, fake news and similar terms have become more and more commonplace among politicians, media and other public influencers alike in what is now often called the age of post-truth. Expertise appears to be discredited, gut feeling at least as important as facts, and facts themselves no longer valid and reliable. Often postmodernism and poststructuralism are blamed for the rise of a relativism that lies at the heart of post-truth attitudes. But is this really the case? And how should an academic subject such as musicology react to this development? Given the impact that postmodernism and post-structuralism have had on our disciplinary development, do we as academics in general and musicologists in particular have a special responsibility to engage productively with this challenge – as researchers, educators and last but not least as citizens? Are there potential music- specific reactions to the post-truther’s mindset? How can / should we adjust our teaching in this environment? And what role does music / do musicians play in the new “culture war” that we now find ourselves in? How is music utilised by either side? Are there differences in the responses from within popular, traditional and art music (and their respective musicologies)? Is our task as academics to neutrally analyse and describe developments, or rather to try and actively influence them through research, teaching and as public intellectuals – and if so, how?

This conference, jointly hosted by the UCD School of Music and the UCD Humanities Institute, and supported by the Society for Musicology in Ireland, the Irish chapter of the International Council for Traditional Music, and the International Association for the Study of Popular Music (UK and Ireland) will investigate these and similar questions. We invite proposals for papers of twenty minutes’ duration to be followed by ten minutes of discussion.

Please submit abstracts of up to 250 words, together with a CV of up to 150 words, your contact details and the technical requirements of your presentation in a single, word-compatible file by Friday, 9 March 2018 to wolfgang.marx@ucd.ie. We also invite proposals for themed sessions; in this case there ought to be an additional abstract of 150 words outlining the rationale behind the session. We aim to notify participants within four weeks after the deadline.

Conference Committee

Wolfgang Marx (University College Dublin)
Siobhán Donovan (University College Dublin)
Anne Fuchs (University College Dublin)
John Millar (University College Dublin)
Lonán Ó Briain (University of Nottingham) Caroline O’Sullivan (Dublin Institute of Technology) Timothy Summers (University College Dublin)

Bulgarian Culture in the First Half of the XX Century, Interactions and Music Contacts

The Department  History of Music and Ethnomusicology  in National Musical Academy “Prof. Pancho Vladigerov” invite you to partake in the Eighthh “ACADEMIC SPRING READINGS” on the 25-26th of April 2018.

The international scientific conference this year is on the topic “BULGARIAN CULTURE IN THE FIRST HALF OF THE XX CENTURY, INTERACTIONS AND MUSIC CONTACTS”.

Our idea is to reveal and trace the links and interactions between the musical cultures of Bulgaria and other countries around the world as well as between the artists in different spheres of Bulgarian culture.

Our Academy provides your 2 overnight stays in Sofia.

Your reports will be published in a collection of papers from the conference.

Please, send your requests to participate by March 15, 2018.

You can possibly  participate in absentia by sending your report on e-mail address:

andypalieva@gmail.com

Prof. DSc. Milena Bozhikova

Institute of Art Studies

Bulgarian Academy of Sciences