Symposium and Workshop: South African Opera Productions after the Apartheid

Venue: Universität Bayreuth

Date:   18th– 19th October 2018

Call for Papers:

Deadline: 15th August 2018

With the end of the Apartheid era, opera – stigmatized as ‘eurocentric opera’ – became a symbol of Western dominance/colonial imposition and seemed to be dead in South Africa.

But in fact, especially the so called ‘indigenous opera’ ‘flourishes’ as something of an anachronism and can be assessed as ‘black empowerment’ (Naomi André 2018).

The writing of a historiography of opera productions in South Africa although has academically just shortly started (Donato Somma 2016; Hilde Roos 2013, 2010; Martina Viljoen 2006) and is confronted with problems of different natures: political structures, post-colonization, globalization, unstable artistic standards and institutional relations.

The ‘bloom’ of opera presents itself neither through regular performances nor through crowded theatre halls. This is a consequence of the difficult political relations of artistic production in South Africa, which are among others characterized by a lack of funding and the re-organization of the Performing Arts Councils/ National Arts Councils. The existing significant multiple theatricalities of South Africa are thereby not having a platform to present themselves. The market pressure results often in overseas productions financing the few performances in the country itself. Thereby putting itself on risk to confirm with their opera productions transferred expectations of a South African identity rather than expressing an ‘authentic’ one.

This symposium will focus on South African Opera productions. Thereby the aim of the symposium is to represent the plurality of artistic concepts that deal in different ways with the multiple challenges of political and social transformation. How can opera in South Africa be involved in the process of societal transformation in a post-apartheid society? Which new artistic concepts are needed? How does themes for the libretti change? How did language, the style of composition and orchestration transform? Which new locations for performances are found to involve new audiences? How did the aesthetics change? And how are new media used either for a new aesthetic of performances, as with e.g. ‘Lamento’ (Umculo) or ‘U-Carmen eKhayelitsha’ (Isango Ensemble), or for marketing purposes?

For the first day of the symposium presentations shall focus on one opera productions. To ‘map’ the plurality of the field presentations are invited that cover one of the following topics.

  1. South African opera productions
  • Operas of different opera companies and composers
  • Different locations of opera performances (opera house, township, film)
  • Aesthetics of the opera opus itself
  • Analysis of compositions, libretti & performances

With Prof. Dr. Naomi André (University Michigan, USA), Dr. Donato Somma (University of Witwatersrand, SA) and Dr. Lena van der Hoven (among others) some experts in the field are invited. They will present on ‘Winnie – The Opera’ (Bongani Ndodana-Breen), ‘Princess Magogo’ (Opera Africa, Mzilikazi Khumalo), ‘Heart of Redness’ (Cape Town Opera, Neo Muyanga) and ‘Romeo’s Passion’ (Umculo, Cathy Milliken).

The workshop on the second day will cover transformation processes of Opera production in South Africa focusing on the following topics:

  • Opera institutions & opera companies
  • Finances/ Funding
  • Audiences
  • Marketing
  • Political impact

Abstracts (max. 2000 characters) for 20 minutes papers along with the technical requirements for the talk and a short CV with contact details should be sent by 15th August 2018 to Lena van der Hoven (Lena.van-der-Hoven@uni-bayreuth.de). Contributions from both the humanities and social sciences are welcome (Musicology, Theatre Studies, History, Cultural Studies, Sociology). Early career researchers in particular are encouraged to contribute. The chosen speakers will be informed by 31th August 2018 and the conference programme published online at http://www.prof-musikwissenschaft.uni-bayreuth.de/de/index.html .

 

 

Clara Schumann (née Wieck) and her World

International Bicentenary Conference
Clara Schumann (née Wieck) and her World

Call for Papers

Submission Deadline: 1 December 2018

15–16 June 2019
University of Oxford

Keynote Speakers:
Natasha Loges (Royal College of Music)
Susan Youens (University of Notre Dame)

This two-day international conference provides a setting in which to reassess ClaraSchumann’s life, work, and cultural milieu within the gender-aware andinterdisciplinary climate of contemporary musicology. It is hoped that the conference will attract an international contingent of scholars working within the fields of musicology, aesthetics, gender studies, cultural history, and performance studies.

The programme committee invites papers on any aspect of Clara Schumann’s life or music, and especially welcomes contributions on the following topics:

•       Reflections on Clara Schumann’s position in musicological scholarship
•       Analytical and hermeneutic approaches to Clara Schumann’s music
•       Clara Schumann as editor
•       Clara Schumann on tour
•       Clara Schumann’s influence on the development of nineteenth-century pianism and  concert life
•       Clara Schumann’s creative relationships with members of her circle
•       Source material

Proposals are invited in the following formats:

•       Individual papers (20 minutes, followed by 10 minutes of discussion)
•       Themed sessions (with four 15-minute papers, each followed by 5 minutes of discussion)
•       Lecture-recitals (40 minutes in total)

Proposals for individual papers should be no longer than 250 words, offering an overview of the topic and critical approach; those for themed sessions should take the form of a 250-word summary of the general aims of the session, together with a brief overview of each paper.

Proposals for lecture-recitals should consist of a 250-word outline of the issues and repertoire under consideration. A list of recent performances and/or recordings would form welcome supporting material.

Please send proposals as a Word document to c.s.conference@torch.ox.ac.uk, with your name and institutional affiliation included in the body of the email rather than the proposal itself.

Programme Committee:
Joe Davies (University of Oxford)
Laura Tunbridge (University of Oxford)
Susan Wollenberg (University of Oxford)

Conference website: www.claraschumannbicentenary.com

The organizers express gratitude to the following organizations for their support of the conference: The Oxford Research Centre in the Humanities (TORCH) andMusic & Letters.

Musica Scotica Annual Conference 2019

Musica Scotica logo

The Annual Conference of The Musica Scotica Trust will take place at the Tolbooth, Stirling on Friday May 3rd to Sunday May 5th 2019. The conference organisers welcome papers on all aspects of the music of Scotland and the Scottish diaspora. In 2019, as a particular theme, we will celebrate the 60th birthday of the composer James MacMillan, who will be present at the conference. The conference will also feature a performance of MacMillan’s music.

 

We invite submissions for:

individual papers (20 min. including any music examples)

lecture recitals (30 min.) (piano available)

themed sessions (1.5 hours in total)

panel or round-table discussions (1 hour)

poster presentations

 

We would particularly welcome papers on the music of James MacMillan any aspect of his compositional processes, or on Scottish influences on his music, such as pre-Reformation choral music, Robert Carver, Gaelic psalm-singing, pibroch, folk song, music in the Catholic Liturgy etc. As in previous years, we also welcome papers on any other aspect of music in or from Scotland, and of any genre. In line with the Trust’s aim of supporting and nurturing those engaged in early career research, we particularly encourage submissions from younger researchers.

 

Please send abstracts (max. 300 words), including a title, along with a short biography (max. 100 words) as an RTF, Pages or Word file to:

musicascotica@n-ism.org

Please also use this address for any queries.

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The closing date for receipt of proposal abstracts is Wednesday 31st October and acceptances will be notified by early December. We anticipate that the cost for the full conference will be in the region of £99 (£50 – concessions) with rates for half or single day participation available. Information on local accommodation will be available for participants.

Eighth Annual Meeting | Il Gusto Italiano: Italian Style and Transalpine Exchanges in Early Keyboard Music

May 13–15, 2019
Sam Houston State University School of Music, Huntsville, Texas, U.S.A.

Call for Proposals

Admired, imitated, and heatedly debated, the concept of Italian style and taste plays an essential role in the history of keyboard music. The Historical Keyboard Society of North America (HKSNA) dedicates its eighth annual meeting to all aspects of Italian style and its international reception throughout the centuries, including—but not limited to—composition and improvisation, music theory and basso continuo, instrument making, pedagogy, and temperaments. Hosted by the Center for Early Music Research and Performance (CEMRAP) at the Sam Houston State University School of Music (Huntsville, Texas), three days of events (Monday through Wednesday, May 13– 15, 2019) will include paper presentations, lecture-recitals, and mini-recitals, evening concerts, and an exhibition of publications, recordings, and instrument makers’ work. A limited number of presentations and sessions on historical keyboard topics that are not directly related to the theme of the conference, will be considered. Please submit all proposals through the following electronic submission forms:

Paper Presentation: https://goo.gl/forms/iD9QXXJ3L47e3P9W2
Lecture Recital: https://goo.gl/forms/Fr4Dn5ZUnkit4L9j1
Mini Recital: https://goo.gl/forms/ApvdZBseV8OplEEg2
Themed Session: https://goo.gl/forms/D0s7bErhvM26zp8V2

The deadline is October 15, 2018. Presentations of all formats are limited to 25 minutes. Paper and lecture-recital proposals require an abstract of no more than 2,500 characters. For mini-recitals, submit complete program information and provide links to up to two representative recordings pertaining to the proposal. Performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments may perform on the instruments listed below. All proposals must include a short biographical statement (no more than 1,500 characters) for all presenters.

Notification of accepted proposals will be made by November 15, 2018. Presenters must be members of HKSNA and must register for the conference. Presenters must also cover their own travel and other expenses. Further information, as it becomes available, will be posted on the society’s website http://www.historicalkeyboardsociety.org.

HKSNA 2019 also welcomes exhibitors to showcase their instruments, products, and services in the conference. Furthermore, instrument makers are invited to submit proposals for maintenance workshops, etc. Please direct inquiries and proposals to hksna2019@gmail.com.

Available Instruments
Harpsichords
Flemish Single by Gerald Self, GGAA to d3, 8’8’, lute stop, 415/440 Hz, delrin plectra.
Flemish Double after Couchet by Joel Katzman, GGAA to e3, 8’8’4’, 415/440 Hz, quill plectra.
Italian Single after Celestini by Joel Katzman, GGBB to d3, 8’8’, 392/415/440 Hz, strung in brass, quill plectra.

Fortepiano
Paul McNulty after Walter & Son c. 1804, FF to c4, 430 Hz, knee levers for moderator (left) and dampers (right).

Organ
Italian “organo di legno” (all pipes cypress wood), Giovanni Pradella after 17th-century models, C–d3 chromatic, 440 Hz, 1/4 comma meantone. Disposition: Principale 8’, Ottava 4’, Decimaquinta 2’, Flauto stoppo 8’, Flauto in ottava 4’, Fiffaro (voce umana) 8’ (treble).

Program Committee
Mario Aschauer, chair, Sam Houston State University
David Kelzenberg, HKSNA president
Carol lei Breckenridge, HKSNA vice-president
Sonia Lee, HKSNA immediate past president
Maria Luisa Baldassari, Conservatorio Rossini Pesaro
Massimiliano Guido, Università degli studi di Pavia

Opera as Institution: Networks and Professions (1700–1914)

An international conference jointly organized by the Universities of Graz and Salzburg 

November 23–24 2018
Department of Musicology, University of Graz, Meerscheinschlössl, Mozartgasse 3, A-8010 Graz

Conference BoardDaniel Brandenburg (University of Salzburg), Cristina Scuderi (University of Graz), Michael Walter (University of Graz), Ingeborg Zechner (University of Graz)

The performance of opera as musical genre demands specific institutional surroundings in order to provide the means for scenic and musical representation. Indeed operatic history, ranging from its beginnings in seventeenth-century Venice to today’s globalized opera industry, is intimately bound to the history of institutions. This conference aims to gather internationally renowned musicologists whose research focuses on the institutional histories of European opera from the eighteenth to the end of the “long nineteenth century”. The intention of the conference is not to understand operatic institutions as locally distinct and isolated organizations, but rather perceive them as part of a transnational operatic network. The specific design of the conference enables to bring historical developments and shifts into account, and will lead to a deeper understanding of transnational operatic practices throughout the centuries. In addition, it will facilitate an international scholarly exchange on a complex and multifaceted topic in music history.

Conference papers will cover French, Italian, English and German operatic institutions in Europe from the eighteenth to the “long nineteenth century” and address topics such as:

  • Production systems of French, Italian, English and German opera
  • Political, legal, economic and sociocultural surroundings influencing the institution of the opera and its international exchange
  • Professions in the business of opera (composers, singers, agents, impresari, orchestra musicians, dancers, stage designers, librettists, …)
  • Networks of exchange between operatic institutions and their protagonists

 

Participation in the conference is free of charge. For passive conference participants no advance registration is required.

For further information on the program see the conference website: http://www.institutionopera.sbg.ac.at

The “Other” Voice: High Male Voices between Gluck and Rock

A Symposium of the International Gluck Opera Festival in Nuremberg, 5-7 July 2019

The international symposium, “The ‘Other’ Voice: High Male Voices between Gluck and Rock”, which will take place during the International Gluck Opera Festival in Nuremberg from 5-7 July 2019, seeks to address current research questions about the meaning, appropriation, aesthetic, and reception of high male voices in musical theater of the 18th century through to Pop and Rock.

Musical theater at the time of Christoph Willibald Gluck was shaped in large part by performing vocalists, which, particularly with the castrati in Italian opera seria, can be traced back to culturally conditioned aesthetic preferences for both high (male) voices and an ideal sonority (typical for the period), just as much to institutional factors, casting conventions, public expectations, and mechanisms of reception relating to voice, body, gender, and image.

That the object of fascination, the high male voice, is not limited to opera at the time of Gluck reveals corresponding trends in music of the 20th and 21st centuries, where high-range vocal parts for male performers are omnipresent—in theatrical and non-theatrical vocal genres alike. The casting of parts for countertenors, from Benjamin Britten’s A Midsummer Night’s Dream to György Ligeti’s Le Grand Macabreand Olga Neuwirth’s Bählamms Fest, continues to enjoy great popularity. It also represents important facets of musical theater up to the present day. Indeed, high male and falsetto voices are also of great musical and aesthetic importance in the realms of Pop (e.g., James Blunt, Justin Timberlake, A-ha, etc.) and Rock music (e.g., ACDC, Placebo, etc.). In certain instances, furthermore, the timbre generated by the falsetto voice goes beyond the aesthetics of pure sound to form part of a transgendered staging of the artistic persona (e.g., David Bowie, Freddie Mercury or Pharrell Williams).

In conjunction with a new production of Gluck’s Antigono for the International Gluck Opera Festival 2019, this interdisciplinary symposium approaches this complex subject from a variety of historical contexts, theoretical perspectives, and methodological vistas.

Possible themes include:

  • High male voices as part of the staging of artistic personalities in historical and contemporary contexts
  • Casting conventions in 18th-century musical theater
  • Aesthetics of counter song in Neue Musik as well as popular musical forms of the 20th and 21st centuries
  • Countertenors in contemporary historical performance practice
  • High male voices and the aesthetics of reception
  • Gender stereotypes in 18th-century musical theater and 20th/21st-century vocal music

Individual presentations are allocated 20 minutes, followed by 10-minutes of discussion. The conference languages are German and English. Please send an abstract of no more than 250 words in German or English, as well as a short biography (CV, research interests), to gluck–forschungsstelle@sbg.ac.at no later than 15 August 2018. Acceptance notifications will be sent out by the end of September 2018.

Concept and Organization

  • Dr. Irene Brandenburg (University of Salzburg, Gluck Research Center)
  • Prof. Dr. Nils Grosch (University of Salzburg, Gluck Research Center)
  • Prof. Dr. Thomas Seedorf (University of Music, Karlsruhe)
  • Dr. Ingeborg Zechner (University of Salzburg, Gluck Research Center)http://www.gluck-forschungsstelle.uni-salzburg.at

 

isaScience 2018 “Participatory Approaches to Music & Democracy”

The conference isaScience 2018 is part of isa, the International Summer Academy of the mdw – University of Music and Performing Arts Vienna, Austria.

https://www.mdw.ac.at/isa/isascience
Conference date: 10–14 August 2018

Conference venue: Hotel Marienhof, Reichenau an der Rax, Austria

Keynote: David Hesmondhalgh, Professor for Media, Music and Culture, University of Leeds, UK

Organisers: Dagmar Abfalter, Marko Kölbl, Rosa Reitsamer, Fritz Trümpi

Over the last few decades, a rich body of literature has explored how individuals and groups use music as a resource to achieve social, cultural and political participation and to bring about social change in society. 
Studies have also investigated music’s use by political groups and parties in the past and present that impose 
authoritarian, neoliberal or even fascist political ideas. Finally, research is concerned with the promise and 
myth of democratization through technology in regard to music production, distribution and reception/appropriation.

The organisers of isaScience welcome papers on music and democracy from a wide range of disciplines 
(e.g. musicology, ethnomusicology, music sociology, cultural studies, queer studies, postcolonial studies, arts and cultural management) addressing (but not limited to) the following themes and topics:

  • Music’s role for historical revolts and revolutions, for propagating national and nationalistic identities in the long 19th century or music’s use in the name of “the people” during fascist and post-fascist periods;
  • Research on performance practices of minorities and marginalised groups that challenge and subvert 
dominant norms and classifications;
  • Democratizing dimensions of orally transmitted music traditions;
  • Grassroots, “bottom-up” and Do-it-Yourself approaches to music and performance propagated by social movements;
  • Research on music and activism: e.g. activist choirs, feminist and queer performance groups, anti-racist rock groups, singer-songwriters etc.
  • Participatory forms of “musicking” (Small) in local, translocal and virtual music “scenes”;
  • Documenting and preserving the “sounds of democracy” and “hidden” popular music’s past: studies on archives, museums and halls of fame;
  • Music, migration, border regimes and exile;
  • Representations of democracy in artistic practices (e.g. composing);
  • Research on “mediamorphosis” (e.g. electrification, digitalisation) and its effects for democratization: “new” possibilities of self-representation, modes of participation for consumers, and business models in the music and media industries;
  • Notions of “epistemic violence” (Spivak) in music research.

Please submit your abstracts (max. 300 words) for papers, panels and innovative formats and 
a short biography and institutional affiliation,

in English language until 15 March 2018 to isascience@mdw.ac.at.
Decisions on the acceptance of your proposal will be announced by 5 April 2018.

Complimentary funding for travel and accommodation
will be available to students and scholars in academic precarity.
Please submit your application after acceptance of your proposal to isascience@mdw.ac.at.

mdw – University of Music and Performing Arts Vienna will cover lunch and coffee breaks for the conference – no registration fee.
www.mdw.ac.at/isa/isascience

XIV. International Conference –  CONTEXTUALITY OF MUSICOLOGY – What, How, Why and Because

XIV International Conference of the Department of Musicology,

Faculty of Music, University of Arts in Belgrade

Faculty of Music, Belgrade, 24 to 27 October 2018

Deadline for submission of abstracts extended until May 31, 2018

Celebrating 70th anniversary the Department of Musicology of the Faculty of Music, University of Arts in Belgrade, is pleased to announce its Fourteenth International Conference on the topic of Contextuality of Musicology – What, How, Why and Because. The interest for the contextuality of musicology (e.g. M. Veselinović-Hofman, Contextuality of Musicology, New Sound, 1998) and/or practise of the interdisciplinary musicology, showed itself a long time ago at our Department of Musicology, and reflects the awareness of multiple approaches to the interdisciplinary musicology, as well as an importance of integrating knowledge of other disciplines concerning music into the musicological discourse.

It can be said that musicology, in itself, is a multi– and interdisciplinary science regardless of its specifics or, more precisely, a synthetic science that combines the widest possible spectrum of special studies, whereby not one science can remain in its pure state due to constant and inevitable permeations, transmissions and fusions, thus abolishing the conventional division into humanities, social and natural sciences. In fact, during the past decades, the music itself was increasingly turning into the medial (median), intermediary (acting as an intermediate agent between two or more things) and mediatory (pertaining to mediation) field of widely varied interests – social, economic, cultural-political, etc., and aspects of consideration and research –sociological, cultural, philosophical, aesthetic, psychological, physical, physiological, neurological, etc.

However, what is essential is that musicology, whether as historical musicology, or as systematic musicology, has its status of an intermedium (pertaining to the matter that helps transforming one matter into the other, or the fusion of other two or more matters into one), that is, one of its basic characteristics in the context of moving almost complete scientific apparatus at the moment when music is at the heart of the problem. In other words, its natural position of an intermedium enables musicology, thanks to its basic scientific tools – from establishing a fact, which is a historical and/or analytical point of departure, to its contextualization as a scholarly goal – to be the only one in all crucial moments in any music research that could make a vertical cut through all strata of dealing with music. Namely, musicology, therefore, from the very moment of its establishment, turned to the problem of the context.

The everlasting question of the role of outside-music disciplines in musicology shows that thinking about music in context, is not really a new occurrence, but, the question of relations between musical and outside-musical disciplines (regarding the way of setting the thesis, process and type of argumentation, and way of making conclusions) definitely is new, as well as the degree of intensity of their participation in critical, documented and creative contextual musicological questioning and exposure.

Both as a music historian who strives to explain the gist of the sense and the meaning of the events forming history, and as a musicologist pursuing the hermeneutical work which, admittedly, can never reach the ‘true’ meaning of a musical work but only approximate this meaning asymptotically, we think that it is necessary always to keep in mind the ‘call’ of historicity. For the historicity of the place of ‘narrative’, to which ‘narrative is indebted’, is an important context of the credibility of the what and the how, of the validity of establishing and comprehension of the why, and the meaningfulness of the hermeneutical because(from Interview with M. Veselinović-Hofman, Living One’s Own Thought Experience with Music and Musicology, New Sound, 41, 2013).

Open to the contributions not only from musicological and music field but from different fields of humanities and arts, the conference aims at contemporary re/interpretations and re/discoveries of the crucial points of contextuality of musicology.

The above and the following few suggestions are offered as starting-points for consideration:

  • context in music/musicology

  • music/musicology in context

  • contextuality of musicology and (post-)historical, as well as analytical fact

  • contextuality of musicology and musicological aesthetics and poetics of music (from what is autonomously musical in a work to what is latently semantic in it, in a way that implies or stimulates personal insights, and/or personal existence in a musical work, as a sort of hermeneutical completion – cf. Interview with M. Veselinović-Hofman)

  • contextuality of musicology and contemporary creation – current phenomena in and outside music: technological and compositional-technical innovations, various efforts in media, style and theory, the possibility of contextual insight, necessarily related to the problem area of this here and now (cf. Interview with M. Veselinović-Hofman)

  • contextuality of musicology and performing

  • contextuality of musicology and media – mixed media, polymedia, intermedia

  • contextuality of musicology and technology – human, non-human

  • contextuality of musicology and language, as well as writing

  • contextuality of musicology and subject(ivity)

  • contextuality of musicology and utopia, (post)delusion, nostalgia, melancholy, and/or activism, technological progress

  • contextuality of musicology and interdisciplinary challenges, humanities

Academics of all fields of musicology are invited, including those dealing with music from the position of other disciplines.

Please submit your paper topic (including the thematic area as listed above) to Ivana Petković or Radoš Mitrović or Stefan Cvetković at e-mail address: muzikologija#fmu.bg.ac.rs(please change ‘#’ with ‘@’)

The submission deadline is May 31, 2018.

Please include your short biography and an abstract of 250 words. You will be notified by June 15, 2018. if your topic has been accepted.

The official language of the conference is English. It is possible to deliver papers also in German, French, Russian, and Serbian, but the authors are kindly requested to provide translation in English.

The time limit for the presentation and discussion of your paper is set at 30 minutes in total. Selected papers presented at the conference will be published in the proceedings.

Conference fee: Both participation at the Conference and the publication of a text whose topic has been accepted by the Program Committee are conditional upon the payment of the participation fee. The travel expenses, per diem expenses and hotel accommodation, are to be covered by the participants.

Payment instructions: The fee can be paid on the spot (90) or with PayPal (early bird, 70 ).

Students fee is 50 .

Participants will be notified about PayPal payments instructions.

Keynote Speakers:

Richard Taruskin, PhD

Professor Emeritus, University of California, Berkley, Department of Music

Mirjana Veselinović-Hofman, PhD

Full Time Professor – Retired, University of Arts in Belgrade, Faculty of Music

Program Committee:

Marcel Cobussen, PhD, Leiden University, Faculty of Humanities, Academy of Creative and Performing Arts

Marija Masnikosa, PhD, Faculty of Music of the University of Arts in Belgrade

Vesna Mikić, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Perković, PhD, Faculty of Music of the University of Arts in Belgrade

Tijana Popović Mlađenović, PhD, Faculty of Music of the University of Arts in Belgrade

Nico Schüler, PhD, Texas State University, San Marcos

Leon Stefanija, PhD, Faculty of Arts, University of Ljubljana

Ana Stefanović, PhD, Faculty of Music of the University of Arts in Belgrade

Dragana Stojanović-Novičić, PhD, Faculty of Music of the University of Arts in Belgrade

Chris Walton, PhD, University of Stellenbosch

Organizing Committee:

Stefan Cvetković, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Marina Marković, PhD candidate, Faculty of Music of the University of Arts in Belgrade
Marija Masnikosa, PhD, Faculty of Music of the University of Arts in Belgrade

Vesna Mikić, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Miladinović-Prica, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Radoš Mitrović, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Perković, PhD, Faculty of Music of the University of Arts in Belgrade

Ivana Petković, PhD candidate, Faculty of Music of the University of Arts in Belgrade

Tijana Popović Mlađenović, PhD, Faculty of Music of the University of Arts in Belgrade

Ana Stefanović, PhD, Faculty of Music of the University of Arts in Belgrade

Influence of the Arts in the Middle Ages: Reflexions on the Aquitanian Ms. Paris, BnF, latin 1139

Paris, 19-21 March 2019

Call for Papers

 

The manuscript Paris, BnF, lat. 1139 is a composite manuscript whose origins are not precisely known. It was preserved in the library of the abbey Saint-Martial de Limoges, one of the most prestigious book collections of the Middle Ages, since as early as the middle of the thirteenth century. The manuscript includes the first expressions of a new way of singing  divine praise. These compositions do not so much break with older traditions as add to what already existed.

The oldest and most important part of the manuscript (end 11th-beginning of the 12th century) contains many festive chants: tropes, versified songs (versus and Benedicamus domino, so called nova cantica) troped epistles and liturgical drama (ff. 32r-117r). Also added are votive offices for the BVM, notated in the thirteenth century (ff. 119r-148r), a full sequentiary dating from the end of the twelfth century (ff. 149r-228v), and parts of two other sequentiaries of the thirteenth century (f. 2r-20v). Throughout the manuscript, one can also find texts about liturgical practice and the daily life of the abbey (such as an inventory of altar ornaments, a list of the books in the library, and so on).

This heterogeneous anthology thus allows us to observe repertories sung during as much as two hundred years as well as evolution in the liturgical practices of specific types of celebration. As a diverse collection it reveals the creative dynamic and cultural exchanges enjoyed by Saint-Martial, whilst at the same time indicating a wide network extending across  Southern France and beyond.

This manuscript is an exceptional book, that attracted at an early stage the interest of scholars:

– It includes some of the oldest testimonies of Aquitanian polyphony.

– It has the oldest collection of nova cantica.

– It includes several liturgical drama, among them the Sponsus, which is unique to this source.

– It sits at the crossroads between Latin and vernacular repertories.

– The notator of the oldest part used a sign in the form of a rhombus to indicate semi-tones. This notational particularity was quickly abandoned in the South of France but was widely adopted in the West of the Iberian Peninsula, especially in Portugal.

 

An inventory of the oldest part was made by Hans Spanke (1931); Judith M. Marshall devoted her entire, mainly analytical PhD dissertation (1961) to lat. 1139. Jacques Chailley (1952), Sarah Fuller (1969) and Leo Treitler (1978) also included this manuscript in their studies of the Aquitanian repertory. It appears that many chants copied in latin 1139 have concordances in sources not only from Southern France but also in the festive offices of the Circumcision from Beauvais, Sens and Le Puy (Wulf Arlt, 1970, 2000) in addition to other manuscripts from further afield.

This conference is open to scholars from many disciplines (history, art history, history of literature, musicology, philology, palaeography…) in order to tackle all the aspects of this complex manuscript. The meeting will provide an opportunity to fill lacunae in the historiography, especially in dealing with the more recent sections of the manuscript. We will therefore consider the manuscript itself, and, at the same time, attempt to place it within a wider context, beginning with the abbey of Saint-Martial and then within networks of creation and dissemination beyond the Limousin territory. The specificity of this conference will lie in the assessment of the circulation of artistic and intellectual practices. From this perspective, latin 1139 will be the starting point for a renewed study of creativity at the heart of the Midi and of its spread in space and time, but the manuscript itself will not be the only focus.

 

Papers might deal with the following themes (but are not limited to these):

Influence: comparison of Paris, BnF, latin 1139 with other sources

– palaeographic questions, both musical and textual; the use of the neumatic characteristics of the manuscript’s notations in other traditions (above all in the Iberian Peninsula);

– musical and literary features of the repertory;

– codicological approaches, presentation, layout and decoration of the manuscript in  relation to a larger context of manuscripts.

Dissemination: Saint-Martial de Limoges as a musical and artistic centre

            – the position of Saint-Martial with regard to the dissemination of repertories and artistic practices from the Limousin into other regions;

– the abbey as a creative centre as well as its reception of external material;

– the circulation and transfer of manuscripts to and from the library of Saint-Martial;

– the liturgy and communal life of the abbey, as revealed by the musical repertories and the non musical additions in latin 1139.

Circulation: the reception and destiny of repertories notated in Paris, BnF, latin 1139

– consideration of the dissemination, networks of repertories notated in latin 1139: manuscripts from Norman Sicily, offices of the Circumcision, German manuscripts including the Carmina Burana, Cantatoria from Prague, etc.;

– relationships between the repertories of latin 1139 and Parisian sources of the twelfth and thirteenth centuries (nova cantica, sequences);

– consideration of the complex material aspects of the manuscript as testimony to ways of using books and repertories: transformations and re-compositions in response to new needs;

– exchanges and crossovers between Latin (versus, tropes, epistles, etc.) and vernacular repertories.

 

Papers will be published following a peer-review process.

Please see http://colloque1139.fr/ for more information.

 

Scientific Committee:

Maria Alessandra Bilotta (IEM-FCSH/NOVA, Lisbonne)

Océane Boudeau (CESEM-FCSH/NOVA, Lisbonne ; EPHE/SAPRAT, Paris)

François Bougard (CNRS, IRHT, Paris)

Pascale Bourgain (Centre Mabillon/École nationale des Chartes, Paris)

Christelle Cazaux-Kowalski (FHNW / Musik Akademie Basel, Schola Cantorum Basiliensis)

Christelle Chaillou (CNRS, CESCM, Poitiers)

Marie-Noël Colette (EPHE/SAPRAT, Paris)

Gilbert Dahan (EPHE/LEM, Paris)

Charlotte Denoël (Centre Mabillon/École nationale des Chartes, Paris)

Manuel Pedro Ferreira (CESEM-FCSH/NOVA, Lisbonne)

Andreas Haug (Universität Würzburg)

Katarina Livljanić (Université Paris-Sorbonne, IReMus)

Guy Lobrichon (CIHAM UMR 5648 – Université d’Avignon et des Pays de Vaucluse)

Christian Meyer (CNRS, CESR, Tours)

Susan Rankin (University of Cambridge)

Anne-Zoé Rillon-Marne (UCO, Angers ; CESCM, Poitiers)

 

Organisation Committee:

Océane Boudeau (CESEM-FCSH/NOVA, Lisbon ; EPHE/SAPRAT, Paris)

Anne-Zoé Rillon-Marne (UCO, Angers ; CESCM, Poitiers)

The conference will take place on 19-21 March 2019 in the Bibliothèque nationale de France (58, rue de Richelieu, 75002 Paris), the Institut de Recherche et d’Histoire des Textes (40, avenue d’Iéna, 75116 Paris), and the Fondation Calouste Gulbenkian – Délégation en France (39, bd de La Tour-Maubourg, 75007 Paris).

 

Deadlines:

– Proposals for papers (title and abstract: c. 300 words) to info@colloque1139 : 31 May 2018

– Response fram the Scientific Committee: 30 June 2018

– Conference: 19-21 March 2019

– Finished texts of papers for peer-review and publication: 30 September 2019

 

Lunch will be offered to speakers. Bursaries for travel and accommodation will be considered case by case, depending on the funding sources for the conference.

Date: 6-8 July, 2018

Place: Hamburg University of Music and Theatre

In 2016[i] a study of the German Cultural Council validated the obvious asymmetry of the sexes in culture and media, particularly with respect to the contemporary music scene. For decades the participation of women had been limited to performing artists, but there was also a remarkable absence of female composers.

Either randomly or induced by the study, contemporaneous initiatives started to discuss sexism in New Music. Examples of this trend include the founding of the group “Gender Relations in Darmstadt (GRID)” [ii], initiated by the composer Ashley Fure at the Darmstädter Ferienkurse 2016. That same year this group presented statistics on the constantly low female participation at the Darmstadt Summer Courses since 1946.[iii] Another example was the panel discussion held at the Donaueschingen Festival 2017 (transmitted via German Southwest Broadcasting, SWR).[iv] However, a comprehensive and fundamental scientific study that questions unconscious and subliminal criteria, for example the preference of mind over body, within the discourses of new music and performance art is lacking.

Methods of ex- and inclusion that ask for sex (and gender) or that include an interdisciplinary approach with criteria like social class, ethnicity or age, shall be questioned at the conference. The symposium will take place shortly before the Darmstadt Summer Course 2018 to give impulses for the discussions. Position papers and panel discussions will include the following topics

New music[v], gender and

  • Institutions since the 1950s
  • Aesthetics
  • Cultural politics
  • Feminism
  • Process of canonisation
  • Concepts of avantgarde
  • Electronic music
  • Experimental music, performance art, neo-conceptual art
  • Discourses of body
  • Digitisation
  • Positions between high and low arts
  • Present contemporary artistic positions
  • Critic of music
  • Musicology
  • Audience
  • Intersectional perspectives

Further proposals are welcome.

The symposium wants to open new discussions; thus, the presentations should include basic aspects and questions. A publication of a selection of the contributions is planned.

Please submit abstracts (up to 2,000 characters including spaces) for 25-minute presentations, and contact details via the email address below by 11 March, 2018. Junior researchers are especially encouraged to apply. The conference will be held in English and German. Thanks to sponsorship from Mariann-Steegmann-Foundation applicants can receive travel costs (max. € 200) and accommodation (max. 2 nights). Decisions will be made until 31 March, 2018.

 

Dr. Vera Grund

Musikwissenschaftliches Seminar Detmold/Paderborn

Hornsche Straße 39

32756 Detmold

vgrund@campus.upb.de

 

Prof. Dr. Nina Noeske

Hochschule für Musik und Theater Hamburg

Harvestehuder Weg 12

20148 Hamburg

nina.noeske@hfmt-hamburg.de

 

[i] Gabriele Schulz, Carolin Ries, Olaf Zimmermann: Frauen in Kultur und Medien. Ein Überblick über aktuelle Tendenzen, Entwicklungen und Lösungsvorschläge, Berlin 2016, online: https://www.kulturrat.de/wp-content/uploads/2016/12/Frauen-in-Kultur-und-Medien.pdf.

[ii] https://griddarmstadt.wordpress.com.

[iii] Particularly https://griddarmstadt.files.wordpress.com/2016/08/grid_gender_research_in_darmstadt.pdf. Further statistics http://darmstadt-2016.netlify.com.

[iv] https://www.swr.de/swr-classic/donaueschinger-musiktage/programme/do-19-k-eine-maennersache-neue-musik/-/id=2136962/did=19800128/nid=2136962/1wqxvmu/index.html.

[v] The term “New Music” here is used comprehensively, including experimental music as well as performance art etc.