Meeting for Sound and Musical Instruments CO2019OC

8th International Scientific Meeting for the Study of Sound and Musical Instruments

CONGRESSO DE ORGANOLOGIA 2019 ORGANOLOGICAL CONGRESS

Belmonte, east-central Portugal

20-22 September 2019

Instruments of culture and peace

Many complain about the backstage, or invasive, pollution of sound in daily lives, and solutions? Social anxiety is mirroring short and long term influences, notably from birth, or even pre-natal effects through a stressed mother (scientific trends differ, precisely for this reason, we give here an opportunity for discussion, acknowledging it as a vast and often neglected issue). Many refer to “how life in Nature” is so beautiful, where we can play music in a perfect ambiance, but can’t or aren’t moving a finger to do something about it. We are doing it. We are developing a project that not only deals with the essential creativity in the human being but also the setting up of biodiversity in a balanced environment, where one can be thyself. All who visit us feel well here – why? This subject matter is far more important than it seems at a first glance. There is too much ‘noise’ in most people’s lives, too many front page headlines, too many characters on stage, too many spotlights, and everybody talks about all at the same time… we can’t listen to each, we can’t think about each… we need ‘silence’, reflection, to listen to life and art. Why are so many people frustrated and often depressed? Why so much illness with such highly developed medical support? Among many factors, the “sound quantity and quality” in our lives is fundamental. And that of music in our psychological and social balance too.

And – how music and creativity in sound can help a society in crisis? Fight fights, promote peace? How to help a society to be more united and less fragile? Can we, with our work, do better – and be part of the “positive productive” and not, as many do say, be the “useless” for the society? We are inviting you to discuss these and other prominent topics, which are intrinsically related to sound and musical instruments. Please come forward. In a society which is getting used to lightly give an opinion for anything and nothing in the social media, we invite those who “think” and – concretely “do something” – to visit, show, and think and do further.

From the morning of a bright Friday to an exquisite lunch on Sunday at the fabulous old Monastery, now a luxury hotel called Pousada de Belmonte, with concerts, recitals, activities, and full immersion Sessions, our program is quite promising. However, our special invitation to sociologists and musicologists had a good response in quality but not as wide, thematically, as we wanted it to be. There is still time, to make proposals and be part of this interesting gathering of people, who positively and openly discuss about the various issues that concern us all. We look forward to have more work presented that deals with the social impact of music and their musical tools, and studies about sound – for instance, how sound (acoustic and electronic) is affecting daily lives, our world.

You can have more information at the congress website, which is periodically updated: link [https://congressorganimusic.wixsite.com/co2019oc]

Or you can contact us directly: congressorg2019.animusic@gmail.com

Registration: besides the program (as listed above), it includes an active visit to an Exhibition of Musical Instruments (historical, traditional and technological), an unique bag with the program and materials, equipment and technical support, Wireless internet, coffee-breaks (nice and diversified), lunches (2), a banquet-lunch (gourmet), selected visits, reviewed publication (in the book series ‘Liranimus’, which contains essays on Organology, or online), certificate of participation, perhaps a memoir-gift, publishers, makers, restorers, and participants stalls, networking opportunities and, essentially, time reserved “on purpose” for constructive discussions and exchange of ideas. Note: group meals are optional.

All activities are open, namely recitals, concerts, demonstrations, workshops (within a registration limit), and visits. 

Registration fee

Early bird registration » 80€ for ANIMUSIC members (which has a symbolic registration fee of 20€, and no annual fees, no profit) / 110€ others (early bird registration until the 31st of August)

Regular » 120€ (ANIMUSIC) / 150€ (from 1st September)

Dayly fee » 40€ (does not include the banquet-lunch)

Banquet-lunch gourmet (for those friends accompanying, still a special price: 35€)

Other costs: Portugal is one of the less expensive countries in Europe. To give an idea, an expresso coffee costs about 0,70€ in a normal coffee-shop (it’s everywhere, this is the normal coffee, similar to Italia), or even less in automatic machines. Meals may be around 10€ (complete with wine, etc), including nice fresh grilled fish or vegetarian food. There are various options for lodging in Belmonte, you can check with the different available search engines or at Airbnb, averaging 70€ per night in a good hotel.

Transportation: You may use Porto’s or Lisboa’s international airports. From Porto, it is probably easier to rent a car, the rates, when booking from abroad, are quite low (you can have a car for 10€ a day or similar) and it’s basically all highway till Belmonte (if avoiding crossing Porto, you have: A4-A24-A25-A23; or crossing Porto: A29 or A1-A25-A23) which is very comfortable. The transportation from Lisboa is quite easy, also renting a car, or by public transportation: From the airport you take a taxi (5 to 8€)  or the metropolitan, to the Oriente station, which is near the River Tejo (beautiful place to visit if you have time, where the Oceanario is, plus other interesting sites). There, going up the stairs or lift, you check the line for Covilhã, usually trains are in time. If you pay online with anticipation (5, 8 or more days), you can even have a discount of up to 65%, if you are senior, it’s always 50%. The ticket to Covilhã, in the speed direct train, costs (as per today): 17,70€. Arriving in Covilhã, you can take a taxi (not expensive), a bus or meet with a group organised by us and the Municipality, on the 19th of September. If you have special needs, please contact us so that we arrange a special way for transportation. We work the best we can to help your experience be perfect and unique.

Portugal has been rated as the third safest country in the world, after Iceland and New Zealand. So, by visiting us, you shall discover more of this amazing country and meet fellows who are interested in your work, in discussing ideas and in moving forward. This is project Erdissol-ANIMUSIC.

For more information, visit us at this link. You are most welcome to contact us directly if you have questions (email).

50+ Years of Creative Music: Anthony Braxton – Composer, Multi-Instrumentalist, Music Theorist

Call for Papers for an International Conference, June 18th‒20th 2020
Institute for Historical Musicology of the University Hamburg
Neue Rabenstr. 13 | 20354 Hamburg | Germany

We encourage German as well as English abstracts no longer than two pages. Please send them to one of the organizers. The deadline is September 1st 2019.
Prof. Dr. Friedrich Geiger (Universität Hamburg; friedrich.geiger@uni-hamburg.de)
Prof. Dr. Timo Hoyer (Pädagogische Hochschule Karlsruhe; hoyer@ph-karlsruhe.de)
https://www.kultur.uni-hamburg.de/hm/uber-das-institut/aktuelles/tagung-braxton.html

In June, 2020, Anthony Braxton will be celebrating his 75th birthday. For more than half a century he has played a key role in contemporary and avant-garde-music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference is the first one dealing with his multifaceted work. It aims to discuss different research projects concerned with Braxton’s compositional techniques as well as his instrumental- and music-philosophical thinking. The conference will take place from June 18th to 20th 2020 at the Hamburg University, Germany.

During the first half of his working period, dating from 1967 to the early 1990s, Braxton became a ‘superstar of the jazz avant-garde’ (Bob Ostertag), even though he acted as a non-conformist and was thus perceived as highly controversial. In this period he also became a member of the AACM, the band Circle, and recorded music for a variety of mostly European minors as well as for the international major Arista. Furthermore, he developed his concepts of ‘Language Music’ for solo-artist and ‘Co-ordinate Music’ for small ensembles, composed his first pieces for the piano and orchestra and published his philosophical Tri-Axium Writings (3 volumes) and Composition Notes (5 volumes). These documents remain to be thoroughly analyzed by the musicological community.

Even less attention has been paid to the development of his work since the mid-1990s. During this period Braxton enhanced some of his compositional principles from the earlier period, and he partly redefined and reshaped some of his thoughts about music. Additionally, he worked on his twelve components of a holistic system called ‘Tri-centric Music’, ‘Tri-centric Thought Unit’ or ‘Tri-centric Modeling’. As a basic premise for this period he built up his Tri-Centric Foundation and founded a record label (Braxton House / New Braxton House). In the compositional array he developed the so-called Ghost Trance Music in order to creatively fuse elements of composition and improvisation. As of today he works on his not yet finished twelve-part opera, Trillium, and on other projects such as, Pine Top Aerial Music (a choreography of sound and physical motion), and Diamond Curtain Wall Music (a study of interactive electronical sound). In Falling River Music the musicians are asked to intuitively interpret different shapes, graphics and symbols, whereas in Echo Echo Mirror House they are requested to play iPods containing Braxton’s complete works. ZIM Music, one of his latest prototypes, operates with different sound dynamics.

It is the second of Braxton’s working periods that the conference will focus on, albeit the presentations (45 minutes each) may need to refer to his older concepts as well. We encourage paper proposal dealing with the following three key topics:

1. The composer: Braxton’s complete works comprise more than 500 compositions of incredible variety. Furthermore, his œuvre contains performance directions for solo-instrumentalists (language music), piano pieces, works for 100 tubas, for flute- or vocal ensembles, for orchestra and a puppet theater as well as for four orchestras, duos for one instrumentalist and a stand-up comedian and many more. Every composition or compositional fragment may be combined with others. Right from the start, Braxton has been looking for possibilities to combine forms of composition and improvisation. During the last 20 years in particular, he has developed fascinating solutions and a smart notation system which contains both, conventional and unconventional signs, graphics and narrative-poetic elements. We especially welcome presentations that deal with his scores analytically, for instance by concentrating on individual works, smaller groups of works or certain musical parameters like harmonics, melody and rhythm. Also, projects that investigate similarities and differences to other composers or musical styles are kindly appreciated.

2. The multi-instrumentalist: Like many other members of the Afro-American AACM Braxton made a mark as a multi-instrumentalist. He not only masters the Alto Saxophone as well as the whole families of saxophone and clarinet instruments, but he also enjoys playing instruments of the very high and low registers, different kinds of flutes, the piano, percussion instruments and more. His style is unique, even though it changed over time. Concerning these topics, almost no scientific research exists. There is a general lack of analyzing his style, especially when it comes to differentiating between a) his roles as a soloist and as a part of an ensemble, b) his life- and studio-performances, c) interpretations of works of his own and those of others, and d) realizations of notated pieces and free improvisations.

3. The music theorist: “His rhetoric and writing alone make him a hugely influential figure in free music”, musician and music theorist Joe Morris says. There is no doubt that Braxton’s theoretical and philosophical writings about his own works ‒ covering much more than 1000 pages ‒ is outstanding in Jazz history. However, neither his unique diction, his neologisms ‒ both can be studied as well in his interviews and liner notes ‒ nor his attitude towards creativity, Black Exotica, music journalism, Jazz Rock, western art music, World music, white music improvisators, nor his very unconventional (from an academic point of view) work analyses have been given much attention by the scientific community. The conference aims at filling this void.

IMS2022: 21st Quinquennial IMS Congress

Location: Athens, Greece
Dates: August 22–26, 2022

The 21st Quinquennial IMS Congress (IMS2022) will be held in Athens, Greece, from August 22 to 26, 2022. It is sponsored by the Hellenic Musicological Society under the aegis of the Department of Music Studies of the National and Kapodistrian University of Athens and the Department of Music Studies of the Aristotle University of Thessaloniki.

Conference website: https://www.musicology.org/ims2022

“Conflict-/-Collaboration” 42nd Musicological Society of Australia Conference

7-9 December 2019

Sir Zelman Cowen School of Music, Monash Univeristy, Clayton, Melbourne, Australia

Call for Papers – Submission Deadline 12 May 2019

Conference Webpage

Conflict-/-Collaboration

In recognising the challenges of a contemporary world where traditional cultural, social and geographical boundaries are regularly broken down and new ones set up, we have created a conference theme that juxtaposes two apparently opposing ideas – conflict and collaboration – to contemplate the consequences for art and everyday life. In music-related contexts we seek answers to the questions: what is the nature of conflict and its consequences; what is the nature of collaboration and its consequences; what happens when conflict and collaboration intersect?

Emphasising the MSA’s remit to encourage and support all disciplinary approaches to music research, we invite papers on any music-related research topic that considers conflict and/or collaboration.

An indication of the approaches and topics we hope to inspire include (but are not limited to):

  • Analytical studies of musical works that deal with conflict
  • Results of collaborative research projects
  • Internal conflicts experienced by practice-led music researchers
  • The gender gap in collaborative contemporary popular music
  • Conflicting views on music for worship
  • A philosophical argument for dispelling Lone Ranger myths and endorsing collective creativity
  • Music as distraction from unresolvable conflict situations
  • Assessing collaborative music-making apps
  • The conflict of the commission: client-composer negotiations
  • Illicit Associations: music critics and music producers
  • Conflicts encountered in preserving indigenous music
  • Is functional harmony a metaphor for collaboration?
  • Balancing the conflicting needs of stakeholders in community music-making
  • Ludomusicology in an era of media-supported extremism
  • Ethnological accounts of collaborations or conflicts between e.g. co-creators of musical works, performers and producers, teachers preparing musicians for competitions and so forth.

In addition to presentations that address the conference theme, and in keeping with the MSA’s objective of supporting all Australian music researchers and their current projects, abstracts on any aspect of music-related research are also welcomed

Proposal Submission Guidelines are available here:
http://msa.org.au/Main.asp?_=Melb2019&FormID=474

Deadline for Submissions is Midnight 12 May 2019 AEST

1st International Research Meeting for Music and Musicology Students

Call for Papers

EINEM 1st International Research Meeting for Music and Musicology Students

College Mateus d’Aranda, University of Évora (Portugal), November 28th-30th, 2019

Deadline for submissions: June 20th, 2019

The first edition of this international meeting for young researchers in the fields of Music and Musicology is being organised by the CESEM – Delegation of the University of Évora and its target audience are Master and PhD students in the field of Music: musicologists, musicians and composers.

By setting the goal of encouraging the exchange of experience and the promotion of the results of the projects carried out, this meeting pretends to show, promote, support and disseminate research activities in the fields of Music and Musicology, allowing participants to share their methodological approaches, reflections related to their fields of study and the results of their research works.

It aims at students of Music and Musicology who are studying at research institutions or higher education institutions in Portugal or anywhere on the planet.

Being focused on areas of interest for research in Music and Musicology, all topics related to these areas are welcome. Listed below are some topic suggestions, but other topics which are not mentioned will still be considered:

  • Studies of Early Music
  • Modern Music
  • Contemporary Music
  • Studies of Ethnomusicology
  • Education and Human Development
  • Critical Theory and Communication
  • Music and Technology: interdisciplinarity at the service of music production
  • Music and Literature
  • Music in relation to the other Performing Arts
  • Music and Social Intervention
  • The interpreter as educational force
  • Sonic or musical geography
  • Music as (im)material heritage
  • Music and Spirituality
  • Music Interpretation
  • Jazz studies

Organising & scientific committees, relevant info & deadlines and further inquires, visit the meeting website HERE

10th Vienna Music Business Research Days

The Future of Music Business

April 29, 2019                 Abstract submission deadline  

September 12, 2019    Conference day (paper sessions)

September 13, 2019    Conference day for invited speakers on “The Future of Music Business”

mdw – University of Music and Performing Arts, Vienna

Conference call for papers

About

The 10th Vienna Music Business Research Days will be held at mdw – University of Music and Performing Arts Vienna, Austria, from September 11 to 13, 2019.

Music Business Research is an inter-discipline at the intersection of economic, artistic, cultural, social, legal, technological and further developments which contribute to the creation/production, dissemination/ distribution and reception/consumption of music. This interdisciplinary nature calls for methodological multiplicity and is open to scholars from all scientific areas.

The conference organizers invite scholars (from the postdoctoral level on) who have a research focus on music business/industry related topics to submit a paper proposal for the conference day on September 12, 2019.

Scholarly submissions on this year’s conference theme “The Future of Music Business” are equally welcome as on other aspects of music business research.

Indicative themes include but are not limited to:

  • Past, current and future developments in the music industry (recorded / live / publishing / retailing / wholesaling, etc.)
  • Economic and historic analyses of music markets, charts or audiences
  • Issues in marketing and/or branding music, musicians or music institutions
  • Aspects of musical and musician diversity in music business
  • Critical discourses on the economic, social and cultural contributions of (live) music
  • New products, formats and business models in the music sectors
  • Strategies and strategizing of musicians and music institutions
  • Situatedness and power in musician labor markets
  • Agency and social practices in the music business
  • Legal issues in the music business (contracts, copyright, policies) from an international perspective
  • Fit for the market? Acquiring skills for the music business 
  • Doing things right! New solutions for fairness and transparency in the music business
  • Entrepreneurial musician und music entrepreneurs
  • An age of disruption? Technological developments in the music industry

Submission

Please send an abstract of your proposal to vmbrdays@gmail.com no later than April 29, 2019.

All submissions must include a title, authors (names, affiliations, e-mails of all authors and a notation (*) of the corresponding author), an abstract of 1,000-1,500 words and 3-5 keywords. Abstracts must be submitted in English, as a MS Word file (*.doc or *.docx) or *.pdf file, and include:

  • Objectives of the research
  • Brief description of the disciplinary/theoretical context/background
  • Research questions and/or hypotheses
  • Methodology
  • Main or expected conclusions / contribution
  • Main references

Abstracts will be subject to a double-blind peer-review process by an international jury, and authors will be notified of acceptance by May 20, 2019.

Final papers should be sent before July 31, 2019. They should not exceed 7,000 words (including abstracts, figures, tables, references and appendices) and follow the author guidelines of the International Journal of Music Business Research (IJMBR). You may also want to consider publication in IJMBR after the conference.

Important dates

April 29, 2019                 Abstract submission deadline  

May 20, 2019                  Notification of acceptance

July 31, 2019                   Submission deadline for full papers

September 12, 2019    Conference day (paper sessions)

September 13, 2019    Conference day for invited speakers on “The Future of Music Business”

For students at all levels of the MA & PhD a doctoral colloquium (Young Scholars’ Workshop) will be held as part of the 10th Vienna Music Business Research Days on September 11, 2019. Find a separate call for papers here.

Registration Fee

Registration (ntry.at/vmbrdays2019) will be open from May 15, 2019 to August 31,2019. There will be no refund after this date. The registration fee includes conference attendance, reception, coffee breaks and lunch on conference days as well as the Heurigen-Dinner on September 13, 2019. Discounts for students and members of IMBRA will be available!

  Full registration fee
Until July 31, 2019 (early bird) Euro 175,-
After July 31, 2019 Euro 225,-

Contact

Dagmar Abfalter (mailto: vmbrdays@gmail.com)

Department of Cultural Management and Gender Studies (IKM)

mdw – University of Music and Performing Arts, Vienna

Anton-von-Webern-Platz 1, 1030 Vienna, Austria
http://musicbusinessresearch.wordpress.com/vienna-music-business-research-days-2/

International Forum for Young Art Researchers Science Spring – 2019

Tuesday 16 April – Friday 19 April 2019

State Institute for Art Studies. Moscow, Russia

Call for Papers

‘Science Spring’ Forum is the unique annual scientific event for young researchers of art and culture. The initiative, concept and program development of the Forum belongs to SIAS Ph.D. students.

Our goal is to invite colleagues to a scientific dialogue as well as share our own experience, talk about themes and methodology of our research and discuss the controversial issues of our works.

Forum statement:

Where’s the revolution? Search for new approaches in the Metamodernism era

Potential topics for discussion:

  • Art perception and interpretation – modern experience
  • Nature as a source and space of artistic ideas
  • Teatralization as an artistic method
  • Communications mechanisms of influence in art
  • Communications mechanisms of understanding in art studies

We accept participation requests from:

  • Art researchers of all specialties
  • Philologists
  • Philosophers of art and culture
  • Theorists and historians of culture
  • Experts in music and theater, artists
  • Museologists, curators

Forum audience is welcome to take part in discussions. Anyone can join discussions and feel him/herself a part of the young scientific community. This is especially important for students who are just starting their journey in science.

If you wish to participate in the Forum, please send your application till February 15, 2019 to: sciencespring@yandex.ru

We accept applications filled out according to the approved form (see below). Applications filled out not in accordance with the form and with violations of the requirements will not be accepted.

Participation in absentia is not permitted.

Participants will bear the costs of travel and accommodation.

Forum venue: Moscow, Kozitsky Lane, 5.

Organizing committee

SIAS PhD students:

N. Ruchkina, E. Sakovskaya, E. Miroshnikova, A. Orlova, E. Fomina, V. Aleksandrova, N. Kiryanova, V. Voytekunas.

sciencespring@yandex.ru

https://www.facebook.com/groups/sciencespring

https://vk.com/sciencespring

https://www.instagram.com/sciencespring

APPLICATION FORM

Applications are accepted till February 15, 2019 at sciencespring@yandex.ru

Applications filled out not in accordance with the form and with violations of the requirements will not be considered.

  1. INFORMATION ABOUT THE PARTICIPANT:
Full name 
 Contact details
e-mail 
Phone number+
Place of study (please indicate fully, but without faculty and department) 
Status (please underline)• undergraduate student • graduate student • postgraduate student • independent researcher
Research topic (e.g. master or doctoral thesis) 
Main scientific interests 

Supervisor of studies

Full name 
Academic degree / Academic title 
e-mail 
  • PARTICIPATION INFORMATION:
Participation form (please underline)conference (report)panel discussion
Special technical requirements: besides a laptop and a projector (indicate if required) 
Subject of the paper: 

Abstract:

(Not less than 1000 and not more than 3000–3500 characters, including spaces)

International Conference ‘Explicitly Intertextual Music since 1890’

Gdańsk, 23rd-24th May 2019

organized by the Stanisław Moniuszko Academy of Music in Gdańsk, Institute of Music Theory

Call for papers

Intertextuality, as a concept of contemporary knowledge on literature and art, is – according to Ryszard Nycz – ‘a category used to define this dimension of construction and meaning of a text (a work of art), which points to irremovable, intrinsic dependence of its creation, object status and reception on the existence of other texts and archi-texts (stylistic-specific rules, discursive-generic conventions, semiotic-cultural codes), as well as on the ability of persons participating in cultural cognition and communication process to recognise these inter- and archi-textual references’. What are the possibilities and limitations connected with transposing this category into the situation of music understood as a message?

In the 20th and 21st century there have been many composers who, in different ways, referred to traditional forms, genres, styles, conventional measures or techniques; they cited, paraphrased or transformed, in a specific manner, other musical ‘texts’. Those strategies became norms of their own compositional ‘languages’. Among these composers were, for example, Gustav Mahler, Charles Ives, Igor Stravinsky, Benjamin Britten, George Rochberg, Alfred Schnittke, David Del Tredici, Vladimir Martynov, Salvatore Sciarrino, Wolfgang Rihm, Michael Daugherty, Paweł Szymański, Osvaldo Golijov, Thomas Adès, Jörg Widmann, Maxim Kolomiiets, Andrzej Kwieciński. Are we able to recognise all the references to other texts, made by the above-mentioned composers? Which inter- and archi-texts evoke our quicker reactions? What are the benefits of recognising inter- or archi-texts?

The conference will address two groups of issues: (1) theoretical, methodological and aesthetic aspects of intertextuality in music in critical approaches, (2) interpretation of explicitly intertextual works from the area of classical, film, theatre and jazz music. We suggest that the following issues could be considered:

  • Michael Riffaterre’s concept of interpretant and Ryszard Nycz’s concept of intertextual exponent as research tools in musicology
  • strategies for citing texts from the past and for composing them anew
  • references to stylistic norms and to generic and formal rules
  • intertextual poetics
  • memory of recipients and texts from the past
  • complex process of listening to and interpreting works which are explicitly intertextual
  • intertextuality and meanings of a text
  • intertextuality and the issue of authenticity
  • intermediality

Keynote speakers

Paulo F. de Castro, The New University of LisbonWilliam A. Everett, University of Missouri-Kansas CityVioletta Kostka, Academy of Music in Gdańsk

Programme Committee

Violetta Kostka, Danuta Popinigis, Renata Skupin

The official language of the conference is English. Presentations should be 20 minutes in length, and will be followed by an additional 10 minutes for discussion. Titles and abstracts of maximum 300 words should be sent to v.kostka@amuz.gda.pl The proposals should also include name, affiliation, e-mail, telephone number, postal address and short biography. The deadline for submitting proposals is February 17th, 2019. The final decision of the committee on the selection of the papers will be announced no later than February 23rd, 2019. Selected papers are supposed to be published in English in a yearbook ‘Aspekty Muzyki’.

Conference fee: 90 EUR (academic researchers), 45 EUR (PhD candidates). The fee includes two lunches, reception, coffee breaks with refreshments and publicity. The organizers do not cover travel expenses or accomodation. All speakers whose papers are accepted for presentation will receive necessary information (including bank transfer details and list of suggested hotels and hostels) via e-mail.

Sensing Colonial Ports and Global History: Agency, Affect, Temporality

cpagh-logo

Sensing Colonial Ports and Global History: Agency, Affect, Temporality

An Interdisciplinary Conference at TORCH, The Oxford Research Centre in the Humanities

2–3 May 2019 (Thursday full day & Friday half day)

St Luke’s Chapel, Radcliffe Observatory Quarter

University of Oxford

https://torch.ox.ac.uk/event/sensing-colonial-ports-and-global-history-agency-affect-temporality-an-interdisciplinary-confe

 

Keynote Speakers:

Leila Fawaz (History, Tufts University)

Benjamin Walton (Music, University of Cambridge)

 

Registration closed 

Enquiries: cpagh@torch.ox.ac.uk

 

Organised by the Colonial Ports and Global History Network at the University of Oxford, this exciting interdisciplinary conference brings together scholars from such disciplines and fields as Archaeology, Area Studies, English, History, Italian and Comparative Literature, Music, Sociology and Visual Anthropology.

The aim of the conference is to cross-examine three key concepts – agency, affect and temporality – that are increasingly central to scholarly thought about colonial port cities. In doing so, it also explores anew the implications of the ‘colonial port city’ for global history, both in and beyond the academy.

In addition to the four panels of individual papers, there will also be a World Café workshop for all of the attendees, with featured presenters and topics.   

We are delighted to have two distinguished keynote speakers: Leila Fawaz, Issam M. Fares Chair of Lebanese & Eastern Mediterranean Studies at Tufts University, whose broad expertise encompasses migration, trade and war in the modern Middle East;and Benjamin Walton, Senior Lecturer in Music at the University of Cambridge, whose rich expertise extends from touring opera troupes beyond Europe to the globalisation of opera in and beyond the nineteenth century. 

On 2 May, lunch and tea/coffee will be provided. On 3 May, tea/coffee will be provided.

Programme

2 MAY (THURSDAY)

8:45–9:00 Registration and Arrival

9:00–9:20 Welcome Remarks

Julia Binter and Yvonne Liao (University of Oxford)

9:20–11:20 World Café Workshop 

Chair: Julia Binter (University of Oxford)

Featured presenters and topics:

 

Michael Leadbetter, Phacharaphorn Phanomvan, and Michael Yeo (University of Oxford)

What are port cities, and how should they be studied?

Moderator: Hatice Yıldız

 

David Martínez-Robles (Universitat Oberta de Catalunya)

Rethinking colonial agency: The case of treaty ports

Moderators: Yvonne Liao and Min-Erh Wang

 

Ana Cristina Mendes (University of Lisbon)

Touring Mare Nostrum: The ethics of researching colonial port cities and sea travels in the Mediterranean  

Moderator: Olivia Durand

 

Aaron Jaffer (National Maritime Museum)

Redressing silences in the archive 

Moderator: Katharina Oke

 

11:20–11:50 Coffee Break

 

11:50–13:20 Panel 1

Consuming Colonial Ports: Consumption of Goods and Questions of Agency

Chair: Olivia Durand (University of Oxford)

 

Elizabeth Schmidt (University of California, Santa Barbara)

‘Sundry Sorts of Merchants Goods’: Consuming the Empire in Eighteenth-Century Philadelphia

Mikko Toivanen (European University Institute)

Babel in the streets, Berlioz at the club: Mapping Class and Culture in Mid-Nineteenth-Century Singapore and Batavia through Soundscapes

Emma Bond (University of St Andrews)

Playing with the Sugar Histories of Greenock

 

13:20–14:00 Lunch

 

14:05–15:35 Panel 2

Timing Colonial Ports: Global Time and Local Temporalities

Chair: Hatice Yıldız(University of Oxford)

 

David Irving (ICREA & Institució Milà i Fontanals–CSIC, Barcelona)

Temporality, Aesthetics, and Musical Novelty in Early Modern Colonial Port Cities

Nancy Cushing (University of Newcastle, Australia)

The Time Ball and the Time Gun: Marking Time in a Colonial Port City

 Jessica Fernández de Lara Harada (University of Cambridge)

Summer Grass, Traces of the Brave Ones’ Dream: Harada Hatsu on the recollection of a sense of a timeless Japan in Chiapas, Mexico

 

15:35–15:50 Coffee Break

 

15:50–16:50 Keynote: Leila Fawaz (Tufts University)

Chair: Hatice Yıldız

Reflecting on the port cities of the Levant during the Late Ottoman Period

 

18:00– Conference Dinner at Pierre Victoire for presenters and keynote speakers

 

3 MAY (FRIDAY)

8:15–8:30 Arrival

8:30–10:00 Panel 3

Experiencing Colonial Ports: Forming Global Bodies

Chair: Katharina Oke (King’s College London)

 

Debbie Onuoha (Humboldt University of Berlin)

Lagos, Lagos: Navigating Personal Histories between Two Port Cities on Film

Manikarnika Dutta (Wellcome Unit, University of Oxford)

‘Portals of Death’: European Seamen in the Colonial Port Cities of Calcutta and Bombay

Katherine Roscoe (University of Liverpool)

Embodied Experience and Unfree Labour in Port Cities: Convict Workers in Sydney and Gibraltar

 

10:00–10:20 Coffee Break

 

10:20–11:50 Panel 4

Sensing Colonial Ports: Affective Registers

Chair: Min-Erh Wang (University of Oxford)

 

Aatreyee Ghosh (Leiden University)

Looking from the Verandah: Interrogating the Border-Spaces of Port Towns Canton and Batavia through the Historical Fiction of Amitav Ghosh and David Mitchell

Alexander Petrov (Institute of World History, Russian Academy of Sciences)

The Development of Colonial Ports in Russian America

Nagihan Haliloğlu (Ibn Haldun University, Istanbul)

Sensing and Resisting the Colonial Port in Istanbul in Leonard Woolf and Halide Edib’s Writing

 

12:00–13:00 Keynote: Benjamin Walton (University of Cambridge)

Chair: Yvonne Liao

Port Opera

 

13:00–13:10 Closing Remarks

Facilitator: Olivia Durand

 

 

Sonic Circulations 1900-1950, King’s College London, June 2019


Sonic Circulations 1900-1950: Musical Thought, Scientific Fantasies, Global Contexts

King’s College London, Strand Campus, 24-25 June 2019, in association with the Institute of Musical Research, and the Music and Letters Trust.

Confirmed keynote speakers: James Q. Davies (University of California, Berkeley), Gascia Ouzounian (University of Oxford)

Conference respondents: Gundula Kreuzer (Yale University), John Tresch (The Warburg Institute, London)

From the first human flight in 1903, to the aftermath of the 1945 atomic bombings of Hiroshima and Nagasaki, science and technology in the first half of the twentieth century veered between the utopian and the malevolent. Conceived as idea, as material, and as praxis, science and technology prompt questions about mediation, ethics, marginalisation, space, and power. The time is ripe to interrogate the place of sound and music within the social worlds, political structures, and discourses of the early twentieth century, a period shaped by global uncertainty, military conflict, human displacement, and the legacies of scientised colonialism.

This conference, the second meeting of the ‘Sonic Circulations’ research network, will explore the intersections of scientific, technological, and musical discourses in the global contexts of the first half of the twentieth century. We invite a wide range of papers positioned at the nexus of (ethno)musicology, cultural studies, STS, history of science, and sound studies. Responding to intensifying scholarly preoccupation with science, technology, and music in the Enlightenment and nineteenth century, this conference seeks to cast our attentions forward in time, bringing together scholars from diverse fields and academic contexts. In particular, submissions are encouraged to foreground social dynamics, to bring questions of power or historical erasure to bear where science, technology, and music meet, to interrogate hegemonies, or to expand the range of critical/theoretical perspectives and voices that might be mobilised in this field, particularly beyond those from overrepresented geographical centres.

The provisional programme is now available.

See also the full CfP.

The registration fee for the two days is £100 (reduced rate of £50 for students/unwaged), covering refreshments and lunches. Register here (or here for reduced rate).

Programme Committee: Emily I. Dolan (Harvard University), Arman Schwartz (King’s College, London), Emily MacGregor (Royal Holloway, University of London).

For further queries please contact Dr Emily MacGregor: Emily.MacGregor@rhul.ac.uk

http://www.soniccirculations.com/londonconference

@SonCircNetwork