Prokofiev scholarship underwent a significant transformation in 2013 primarily through the consolidation of archival materials hosted at the Serge Prokofiev Archive at Columbia University. A first symposium to recognise this important moment was organized at Columbia University in April 2017. A partnership between Columbia and the University of Lorraine was instigated with a view to further developing and exploring these research materials and scholarship trends. Following on from a recent series of landmark publications on Prokofiev and his music (notably Morrison, Seinen, Asaro, Guillaumier, McAllister), this colloquium aims to continue its interrogation of primary sources and personal documents.
Prokofiev travelled extensively, lived in several countries, explored several continents, and interacted with an incredible number of his contemporaries – musicians, writers, chess players, publishers, poets, painters, journalists – the list is a long one. Prokofiev, himself very inspired by literature, left several autobiographical works but also little studied stories and short stories. Due to the unique nature of his geographical and artistic background, the question of the multiplicity of cultural, political and artistic contexts over which he may have had an influence or been influenced by, is particularly relevant since it has left a trace on the sources that have come to us today. The multiplicity of genres that Prokofiev worked with throughout his career, from chamber music to film music, from concert pieces to children’s stories, from operas to incidental music, from ballet to Romances, has generated an incredible number of diverse sources, preserved in multiple places. This symposium is intended to provide an interdisciplinary opportunity to deepen current research into these sources and to stimulate new perspectives.
Scientific Committee Natalia Ermolaev, Columbia University Christina Guillaumier, Royal College of Music Laetitia Le Guay, Université de Cergy-Pontoise Nicolas Moron, Université de Lorraine Natalia Savkina, Conservatoire Tchaïkovsky de Moscou
Keynote speakers Rita McAllister, Royal Conservatoire of Scotland Simon Morrison, Princeton University
We warmly welcome you all to a new LAHP student-led activities conference: Gendered Representations in 20th Century American Art & Culture. We are excited to bring you two days of thought-provoking discussions designed to showcase new and emerging approaches to the study of gender construction and identity in American culture, addressing how femininities and masculinities are explored through the modes of music, literature, art, and wider media and cultural apparatus. The aim of this conference is to bring together PhD students and early career academics within the field of American Studies across departmental boundaries, enabling them to share their research and engage in collaborative debates surrounding the role of gender in a culturally and socio-politically tumultuous period of American culture; the twentieth century.
The conference will be held on Wednesday 10th June and Thursday 11th June 2020 in the historical and cultural epicenter of London, at King’s College London’s Strand Campus.
We specifically aim to pose the question: how can examinations of creative practices and cultural products enable a deeper understanding of regionally determined expressions of gendered identity? Whether participants challenge current discourse surrounding gender and American Studies, or discuss the ways in which we as academics shape and pursue the intersection of such disciplines, we intend to create a space wherein interdisciplinary research is produced, debated, and assessed; our call for papers encourages exchange between diverse fields of interest.
Submissions may address, but are not limited to, the following areas:
Articulations of gender and race, class, age, ability, sexuality, etc. in American culture, i.e. literature, music, film, audience engagement, reception, and participation
Exclusion and gender inequalities in American culture
Collaborative practices and the creation of community
Cultural and social histories
How to Participate:
We are looking for 15 to 20 minute presentations, which may include formats such as films, digital artworks, lecture performances, etc.
Please submit an abstract (up to 250 words) outlining the paper’s main arguments, format, and relevance to the conference theme. Submissions should also include your institutional affiliation, paper title, 3-4 keywords, a short biography (up to 100 words), and your contact details.
Costs: Participation in and attendance to the conference is free*. *Please note that while there are potential bursaries for travel expenses, all participants are responsible for covering the majority of costs including possible visa expenses and accommodation.
We are thrilled to announce our two Keynote Speakers: Dr. Rona Cran, Lecturer in Twentieth-Century American Literature and Co-Director of the American & Canadian Studies Centre, and Assistant Professor Dr. Martin Lüthe, Assistant Professor of Culture.
Dr. Rona Cran Lecturer in Twentieth-Century American Literature Co-Director of the American & Canadian Studies Centre University of Birmingham, UK
Rona Cran is Lecturer in Twentieth-Century American Literature at the University of Birmingham, where she is also Director of the Centre for American and Canadian Studies. She is the author of Collage in Twentieth-Century American Art, Literature, and Culture (Ashgate/Routledge, 2014). Her current book project is entitled Multiple Voices: New York City Poetry, 1950-1995; she is also compiling a new anthology of New York City poetry, City of the World: Poems of New York (Fordham University Press, 2021). She has written or is writing articles on New York poetry, American women poet-editors and the mimeograph revolution, Joe Brainard and John Ashbery, Allen Ginsberg and Frank O’Hara, Allen Ginsberg and collage, place, space and identity in Richard Yates, William Burroughs and eating, and William Burroughs and art.
Dr. Martin Lüthe Assistant Professor Department of Culture Freie Universität Berlin (The Free University of Berlin), Germany
Martin Lüthe received his doctorate from the International Graduate Centre for the Study of Culture in Gießen. He is currently Einstein Junior fellow and assistant professor at the John F. Kennedy Institute for North American Studies at Freie Universität Berlin. Lüthe published the monographs “We Missed a Lot of Church, So the Music Is Our Confessional”: Rap and Religion (Lit Verlag, 2008) and Color-Line and Crossing-Over: Motown and Performances of Blackness in 1960s American Culture (WVT, 2011) and is working on a manuscript for Wire Writings: Media Change in the Culture of the Progressive Era.
Sophia Sakellaridis Mangoura PhD Candidate, Department of Music, King’s College London Sophia Sakellaridis Mangoura is currently a PhD candidate in the Music Department at King’s College London supported by the London Arts and Humanities Partnership to pursue a thesis in Opera Studies. Previously, she completed her LLB and MSc in Political Science and Sociology at the National and Kapodistrian University of Athens, Greece. She holds a Classical Vocal Studies Diploma from the Musical Horizons Conservatory in Athens and now performs as a Soprano. Her major academic interests are centered on gender studies, specialising in operatic femininities.
Robyn Shooter PhD Candidate, Department of Music, King’s College London Robyn Shooter is a current PhD student enrolled in the Music department at King’s College London (KCL), undertaking a thesis examining constructions of identity and authenticity in alternative country music. She has previously completed an MMus in Musicology and Ethnomusicology (KCL), an MA in Cultural and Creative Industries (KCL), and holds a BA (Hons) in Comparative Literature (Queen Mary University of London). Robyn’s research is informed by her interdisciplinary background, with interests including popular culture in the United States, countercultural movements in twentieth-century America and Europe, regional identity and the American South, and nostalgic readings of Americana cultural heritage.
Spem in Alium is the most famous example of the extremely rare 40-part motet, and its origins and early performance history are enmeshed in a fascinating web of circumstance and intrigue. 2020 most likely marks the 450th anniversary of the piece, and to celebrate this event, ORA Singers, in partnership with Oxford Festival of the Arts, is planning a two-day interdisciplinary symposium to take place on 19th and 20th June 2020, at which a group of British and international academics and scholar-performers will meet to share insights arising from their engagement with Tallis’ motet. Early career scholars (postdocs, or others who have received their PhDs within the last five years) and doctoral students are also encouraged to participate.
The symposium will also mark the launch of ORA Singers’ new recordings of Spem in Alium and James MacMillan’s Vidi Aquam, a new 40-part motet commissioned by ORA as a modern reflection on Tallis’ work. The symposium will include a major concert featuring both Tallis and MacMillan motets sung by ORA Singers with Oxford Schola Cantorum. There will be a pre-concert talk with Sir James MacMillan talking to Suzi Digby, ORA Singers Artistic Director.
HOW TO APPLY
We are now seeking proposals for 30 minute papers from scholars on any aspect of Spem in Alium. Themes might include (but are not limited to) the following:
● Spem in Alium in historical context: why was it written and where was it performed?
● Spem in Alium over the centuries: why has the work been so greatly admired, and why are we still so fascinated by it today?
● Thomas Tallis: who was he, and how did he survive the vicissitudes of life under four Tudor monarchs, from Henry VIII to Elizabeth I?
● How did Tallis adapt his compositional style to the differing religious and musical demandsof his royal employers?
● Spem in Alium in the context of religious and theological turmoil: what is signified by its Latin text?
● Spem in Alium in the context of architectural and musical design
● What kind of spatial experience do the forty voices create?
The conference is also open to receiving proposals in alternative formats.
In addition to the forthcoming ORA Singers’ recording featuring both works, a selection of the papers presented at the symposium will be included in a new publication.
Please send proposals of no more than 250 words, along with a short biography to firstname.lastname@example.org by midnight (UK time) on Sunday 1 March 2020.
The deadline for submissions is Friday 31 January 2020.
With a steadily increasing array of academic publications in the field reflecting bass music’s global popularity and value, we believe the organisation of an interdisciplinary conference on this topic in the lively city of Bristol is both timely and relevant to a broad audience.
Conference at NYU Steinhardt: Friday May 29th – Sunday May 31st, 2020.
The annual Music and the Moving Image Conference encourages submissions from scholars and practitioners that explore the relationship between the entire universe of moving images (film, television, video games, iPhone, computer, and live performances) and that of music and sound through paper presentations. We encourage submissions from multidisciplinary teams that have been pooling their knowledge to solve problems or come up with a new perspective regarding music and moving images.
The Keynote Speaker is Blake Neely (Composer for the DC Universe: The Arrow, The Flash, Supergirl, DC Legends of Tomorrow. IMDB)
Abstracts or synopses of papers (250 words or fewer) should be submitted by no later than December 15, 2019. You can submit via Jotform by clicking this link HERE.
The program committee includes Daniel Goldmark — Case Western Reserve University (Tunes for ‘Toons: Music and the Hollywood Cartoon; California, 2005, Korngold and His World; Princeton, 2019), Jessica Shine — Cork Institute of Technology (‘Compilation Score and Transdiegetic Music: How Music Helps Give Voice to the Voiceless’; McFarland, 2018, “One Minute of Everything at Once”: How Music Shapes the World of BBC’s Peaky Blinders (2013)’. Musicology Research, 2017), Kate Galloway — Rensselaer Polytechnic Institute (Soundwalking and the Aurality of Stardew Valley: An Ethnography of Listening to and Interacting with Environmental Game Audio;” Routledge, 2019, “Remixing the Environment: Climate Change, Rhythm Science, and DJ Spooky’s Digging in the Landscapes;” Oxford, 2019.), John Covach — Eastman School of Music (What’s That Sound? An Introduction to Rock and Its History, 5th edition (Norton, 2018); The Cambridge Companion to the Rolling Stones (Cambridge University Press, 2019) and co-editors of Music and the Moving Image, Gillian B. Anderson — orchestral conductor (Rosita at the Venice Film Festival, Composing for the Cinema, Music for Silent Film 1892-1929: A Guide); and Assoc. Professor, Director & Chair, Ron Sadoff — New York University (The Moon and the Son / Co-editor of Routledge Companion to Screen Music and Sound).
This year’s conference will run for three days, from Friday May 29th – Sunday, May 31st, with sessions until Sunday evening. The conference will run prior to the NYU Film Scoring Workshop in Memory of Buddy Baker (June 1st – June 13th, 2020).
Convened by Igor Contreras Zubillaga (British Academy Postdoctoral Fellow, University of Huddersfield) and Robert Adlington (University of Huddersfield)
Keynote speaker: Marina Frolova-Walker (University of Cambridge)
This event aims to innovatively question how musical practices formed ways of imagining democracy in the democratic transitions that took place after Portugal’s ‘Carnation Revolution’ in 1974 – what Huntington (1991) called the ‘third wave’ of democratisation, which involves more than 60 countries throughout Europe, Latin America, Asia, and Africa. Rather than studying music’s diverse deployments within these political contexts (music ‘in’ transitions to democracy), this study day places the emphasis upon ways in which music embodies democratisation processes and participates in the wider social struggle to define freedom and equality for the post-authoritarian era (hence the ‘and’ in the title of the event).
As political science has shown, democracy is a highly contested category, one that has been imagined in many different ways, and any particular realisation of which carries costs as well as benefits. According to the historian of democracy Pierre Rosanvallon, the rise of democracy has historically represented both a promise and a problem for a society: ‘a promise insofar as democracy reflected the needs of societies founded on the dual imperative of equality and autonomy; and a problem, insofar as these noble ideals were a long way from being realized’ (2008:2). These complex facets of democracy became especially apparent in the political context of transition to democracy after an authoritarian regime, leading to a struggle between different ‘ideas’ of democracy (Albertus and Menaldo, 2018).Thus, this study day also seeks to engage in a comparative discussion of how music framed different ideas of democracy in post-authoritarian transitions during the 1970s, 80s, and 90s. How did musical practices instantiate ideas of democracy in these political contexts? Inversely, how did such democratic values inform musical practice? How did musicians negotiate between creative autonomy and social responsibility? And more broadly, what is the role of musical culture in a transition to democracy?
8h30-9h00 Coffee and welcome
9h00-9h45 Seonhwa Lee (Royal Holloway, University of London): “The symbolic position of music embodied in democracy and politics: the example of the protest song ‘임을위한행진곡 (Marching for Our Beloved)’”
9h45-10h30 Núria Bonet (University of Plymouth): “Musical Democracy in Chilean Prisons During Pinochet’s Dictatorship (1973-1990)”
30 min. break
11h00-12h30 Keynote Lecture: Marina Frolova-Walker (University of Cambridge)
13h30-14h45 William Fourie (Africa Open Institute, Stellenbosch University): “Composing the Interregnum: Kevin Volans and South Africa’s Transition to Democracy”
14h45-15h30 Mamadou Drame (Université Cheikh Anta Diop de Dakar, Senegal): “Faire le procès des indépendances 40 ans après : réflexions autour de l’avis des jeunes africains par le biais du hip hop et de la littérature postindépendance”
30 min. break
16h00-16h45 Alicia Pajón Fernández (Universidad de Oviedo): “The View of Popular Music in the Press During the Spanish Transition to Democracy: The Difficult Compromise Between Idealism and Capitalism”
16h45-17h30 Diego García-Peinazo (Universidad de Granada): “A(n) (Popular Music) Anthem for Post-Franco Spain? Performing Transition to Democracy and Beyond Around Jarcha’s ‘Libertad sin ira’ (1976)”
BASEES Study Group for Russian and Eastern European Music (REEM)
Saturday 12 October 2019
CALL FOR PAPERS
The 2019 BASEES-REEM annual conference will be held in memoriam Stuart Campbell (1949–2018), a notable scholar of Russian music who held the posts of Lecturer in Music, University Organist, and Director of Chapel Music at the University of Glasgow from 1975 to 2000. His publications included two anthologies of Russian music criticism, Russians On Russian Music (Cambridge University Press), and he contributed entries on Russian topics to the New Grove Dictionary of Music and Musicians, Die Musik in Geschichte und Gegenwart, and other reference works. A member of the editorial board overseeing the production of a new Complete Works of Sergei Rachmaninoff, Dr Campbell was also a co-founder and conductor of the Glasgow-based choir Russkaya Cappella and a notable advocate of Orthodox liturgical music.
Proposals are invited for 20-minute presentations that explore themes germane to Stuart Campbell’s research interests, including:
Music criticism in Russia and Eastern Europe
Eastern Orthodox sacred music
The Russian and Eastern European musical diaspora
Music and film
The official language is English.
Abstracts of no more than 400 words and short biographical notes (c.200 words) should be sent to email@example.com by 31 May 2019. Abstracts will be reviewed and the results announced by mid-June.
REEM has a modest amount of money available to assist speakers, especially postgraduates and those without access to other funds, with the costs of attending. If you would like to be considered for such funding, which is likely to cover only a portion of your travel and/or accommodation expenses, please indicate this in your proposal.
Convenors: Anastasia Belina, Philip Bullock, Katerina Levidou, Ivana Medić, Danijela Š. Beard, and Patrick Zuk. Enquiries should be sent to firstname.lastname@example.org