Fifth Annual Meeting of the Historical Keyboard Society of North America (HKSNA) | The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo

FIFTH ANNUAL MEETING OF THE

HISTORICAL KEYBOARD SOCIETY OF NORTH AMERICA (HKSNA)

21-23 MARCH 2016

Oberlin College’s Conservatory of Music (Ohio, USA) will host the fifth annual meeting of the Historical Keyboard Society of North America (HKSNA) from Monday, 21 March, to Wednesday, 23 March 2016. The meeting’s theme “The Compleat Keyboardist: harpsichord, fortepiano, organ, clavichord, continuo” hopes to inspire us with the variety of instruments played by our forefathers and foremothers.

Three days of morning and afternoon events (Monday to Wednesday) will include papers, lecture-recitals, mini-recitals, and an exhibition of publications, recordings, and contemporary instrument makers’ work. Proposals for individual presentations or for themed sessions with multiple participants on any subject relating to historical keyboard instruments, their use and repertories from the Middle Ages to the twenty-first century, are welcome.

*Of special note: Oberlin College will also host the Eighth Jurow International Harpsichord Competition during 22-24 March 2016. For more details, visit: http://historicalkeyboardsociety.org/2016-jurow-competition/.

CALL FOR PROPOSALS

Please submit proposals by electronic means only, via email to hksna2016@gmail.com by 30 September 2015. Individual presentations will be limited to 25 minutes. For papers and themed sessions, submit a one-page abstract attached to the e-mail as a Microsoft Word document. For mini-recitals and lecture-recitals, submit complete program information and a representative recording as an internet link or as an attached MP3 file. For performers not intending to bring their own instruments or to make arrangements to use exhibitors’ instruments, instruments will be available, based on needs for the Jurow harpsichord competition; see list below. All proposals must include short biographical statements (250 words or less) for all presenters and indicate any audio-visual/media needs.

Notification of accepted proposals will be made by 31 October 2015. 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 website of HKSNA (www.historicalkeyboardsociety.org).

PROGRAM COMMITTEE

David Breitman
Lisa Goode Crawford
Frances Conover Fitch
Joseph Gascho
Sonia Lee
Webb Wiggins, chair

*          *          *

Below is a list of Oberlin Conservatory’s Historical Performance Program keyboard instruments; not all may be available for use in your proposal due to use in the Jurow harpsichord competition or hall availability.

French Harpsichords
Richard Kingston double, 1990
Keith Hill double, 1987
John G. P. Leek double, 1975
William Dowd double, 1969
Willard Martin single, 1979

Flemish Harpsichords
Zuckermann double after Moermans, 2007
Robert Myerly single, 1989
Willard Martin single, 1979

German Harpsichords
John Phillips double after Gräbner, 2014
William Dowd double after Mietke, 1986 (Wiggins)

Italian Harpsichords
David Sutherland, 1983
Anderson Dupree, 1982
William Dowd, 1965 (A=415/440/463)

Virginals
Edward Kottick muselar (mother & child), 2004 (A=440)
Willard Martin muselar, 1973 (A=415)
potential Owen Daly Italian, 2016 (A=463)

Chamber Organs
Gerrit Klop chamber organ, 1985 (8’ 4’ 2 2/3’ 2’ flutes, 8’ wooden principal treble only)
Robert Byrd chamber organ, 1990’s (8’ 4’ 2’ flutes)
D. A. Flentrop chamber organ, 1956

Concert Organs
D. A. Flentrop three-manual North European organ in Warner Concert Hall, 1974
C. B. Fisk three-manual late-Romantic organ in Finney Chapel, Op. 116
John Brombaugh two-manual early 17th century meantone organ in Fairchild Chapel, 1981

Clavichords
Joel Speerstra pedal and two-manual clavichord, c. 2006
Gough unfretted 5-octave clavichord, c.1964
Zuckermann “King of Sweden” fretted 4-octave clavichord, 2009

Early Pianos
Thomas & Barbara Wolf after Dulcken, Viennese, 5-octave + 2 notes (FF-g’’’), c. 1990’s
Paul McNulty after Walter, Viennese, 5-octave + 2 notes (FF-g’’’), c. 2005
Anton Zierer fortepiano, Viennese, 6 ½-octave (CC-g’’’’), c. 1829
Broadwood parlor grand piano #5418, 7-octave (85 notes), c. 1865

 

Musical Identity And Cultural Crossroad

The  International Musicological Conference, April 17-19  2015.

Location: V. Sarajishvili State Conservatoire, Tbilisi, Georgia

Call for papers:

The conference aims to discuss the varied problems of multiculturalism, to portray the national identity in a globalization era.

TSC invites researchers to submit proposals within the following fields: Music history, Music theory, Ethnomusicology. The official languages of the conference are Georgian and English. Papers selected at the conference will be published by Tbilisi State Conservatoire.

 

Registration:

Online registration. Closing date for registration: January 5th, 2015

 

Submission:

Deadline for abstract (no more than 500 words) and biography (no more than 300 words) – January 12th,2015.

The committee will make its final decision on the abstracts by the end of January, 2015  and contributors will be informed immediately thereafter.

Deadline for papers (no more than 3000 words) – February 10th, 2015. Papers are limited to twenty minutes in length, allowing time for questions and discussion.

All materials should be sent to send e-mail: science@conservatoire.edu.ge

The program of the conference also includes workshops, concert and cultural program.

 

For any additional information, please contact:

e-mail: science@conservatoire.edu.ge

Phones: +995 322 98 71 88

website: www.conservatoire.edu.ge

facebook: Science Research Department

 

 

 

2015 Conference of the Historical Keyboard Society of North America (HKSNA): French Connections – Networks of Influence and Modes of Transmission of French Baroque Keyboard Music

2015 International Conference of the Historical Keyboard Society of North America

May 21-24, 2015

The Schulich School of Music of McGill University, Montreal, Canada

CALL FOR PAPERS AND PERFORMANCES

The Historical Keyboard Society of North America (HKSNA) and the Schulich School of Music of McGill University (Montreal, Canada) are pleased to invite submissions of proposals for the Fourth Annual Meeting of HKSNA:

“French Connections: Networks of Influence and Modes of Transmission of French Baroque Keyboard Music”

The conference will be held at the Schulich School of Music, McGill University, from May 21 to 24, 2015.

Details of the Event and Requirements for Presenters:

The conference aims to deepen understanding of French baroque keyboard music, its style, influence, transmission, and the different teaching traditions that nourished it. Although it is difficult to speak of a single French baroque keyboard style, it remains true that the grand siècle generated a musical classicism cultivated by keyboardists not only in France but transnationally. Often, the terms ‘baroque’ and ‘classical’ are used interchangeably in relation to both the repertoire and instruments of the period.

A special section of the conference is dedicated to the internationally-renowned organist and pedagogue, John Grew, Professor Emeritus at McGill University and an expert of the French baroque organ and harpsichord repertoires.Concerts by guest keyboard performers will also be offered to conference participants and the general public, and master classes will be open to qualified students and participants.

The programme committee encourages submissions of individual papers, round-table discussions, group sessions, lecture-recitals, mini-recitals, and multimedia demonstrations on the following topics as they relate to French baroque keyboard music and historical keyboards:

  • Networks of influence within and beyond France;
  • Pedagogical treatises and other sources of transmission;
  • Legacies and influence of composers or groups of composers and performers;
  • Repertoires, genres, and contexts of performance;
  • Connections with other media such as literature and art;
  • Instruments and builders;
  • Patronage and politics;
  • New perspectives or insights into le goût français.

Although the principal theme for this year’s international conference is French baroque keyboard music, proposals of presentations outside or peripheral to this theme, including contemporary repertoires and issues for historic keyboard instruments, are also welcome and will be accommodated if possible.

Available instruments include single- and double-manual harpsichords by Yves Beaupré, Willard Martin, Frank Hubbard and William Post Ross, clavichords and a fortepiano, and, on May 21 only, the French-classical organ by Hellmuth Wolff in Redpath Hall.

Submission procedure. Abstracts of no more than 400 words excluding titles must be received by 5 p.m. EST on 30 September, 2014. Only one proposal per presenter or group of presenters can be chosen.

Lecture-recital, mini-recital, and multimedia demonstration proposals must also include a sample recording, provided via internet link or as an attached MP3 file.

All proposals, whether they be for papers, lecture-recitals, mini-recitals, multimedia demonstrations, round tables or group sessions, must include short biographical statements for all presenters. Presentations should last no longer than 25 minutes.

  • Presenters must be members of HKSNA. Presenters must also register for the conference and cover their own travel and other expenses.

Presenters whose proposals are chosen will be invited to revise their abstracts for the conference program. Results will be transmitted to presenters by 30 October, 2014. Please send your proposal abstracts directly to hksna2015@gmail.com.

Programme Committee:
Frances Conover Fitch

Hank Knox

Sonia Lee

Rachelle Taylor

Lena Weman

Of special note: This year, HKSNA hosts the Ninth Aliénor International Harpsichord Composition Competition. For more details: http://historicalkeyboardsociety.org/competitions/alienor-competition/.

Sounds of Wars and Victories: Images of Military Musicians on Battlefields and Promenades

The thirteenth conference of the Research Center for Music Iconography, City University of New York, The Graduate Center,

commemorating the centennial of World War I

New York, 11–13 November 2014

Marking the centennial of the beginning of World War I and starting on Armistice Day 2014, the conference will focus on the iconography of military musicians of all time and performing in any occasion. Throughout history, military musicians formed a significant part of the soundscape not only on battlefields during wartime, but also in the neighbourhood of their military barracks during peacetime. Still, as historical documentation of their performances, repertoire, and personnel is most often integrated with military matters at national war archives, music historians too often leave them out of their historical narratives.

Traditions of military ensembles are as rich and varied as they could be. Different nations and military branches have developed preferences for specific repertoires and instruments. Their performances were equally integrated into military and civilian musical life, having a variety of purposes spanning from strengthening national identity and patriotism to providing music accompaniment at middle class dances and ceremonies. Therefore, the visual aspect of their performances has always been as significant as their music repertoire. Whether marching across town or attending a welcoming ceremony for a state dignitary, they were always proponents of the government and its power. With that purpose, their uniforms developed over time into specific distinctive attributes forming national symbolism, and their performances became ceremonies in their own right.

The conference aims to examine the visual aspects of military musicians throughout history, in particular the role of military bands in creating national visual identities; occasions in which military ensembles performed and their interactions with audiences; their instruments and performing formations; graphic designs of editions of compositions by military bandmasters; and representations of music on commemorative war monuments.

Abstracts of 200–300 words may be submitted before 1 May 2014 to:

Zdravko Blažeković

Research Center for Music Iconography

City University of New York, The GraduateCenter

365 Fifth Avenue

New York, NY10016-4309

zblazekovic@gc.cuny.edu

http://rcmi.gc.cuny.edu/wp-content/uploads/WWI.pdf

Neoclassical Reverberations of Discovering Antiquity

Twelfth conference of the ICTM Study Group for the Iconography of the Performing Arts

in collaboration with the Istituto per i beni musicali in Piemonte

will be held at the Archivio di Stato di Torino

Torino, 6–10 October 2014

With the discoveries of Herculaneum and Pompeii, the eighteenth century marked the birth of modern archaeological methods. The newly discovered Roman sites became a leading attraction for intellectuals travelling in Italy on the Grand Tour, and equally admired by royalty, young British students, or artists and musicians. On the other hand, Napoleon’s Egyptian Campaign inspired the fashion of Egyptomania, which could be in its different forms traced back to antiquity. These new opportunities for the study of Mediterranean antiquity and the general fascination with it, made the ancient artistic vocabulary fashionable throughout Europe, and it was reflected in the most diverse aspects of nineteenth-century life, ranging from the decoration of public buildings and artistic and architectural styles, to fashion, furniture, and opera libretti. The conference aims to examine the influences and reflections of this new knowledge of antiquity on visual arts as related to music.

  • Music in neoclassical visual art
  • The impact of archaeological explorations at Pompeii and  Herculaneum
  • New visions of ancient musical life and myths
  • Public buildings decorated in the ancient Roman style
  • Music of ancient Egypt and North Africa as seen by Western artists
  • Antiquity in operatic scenography
  • Musical impressions by artists on Grand Tours

Free papers will be also considered

 

Abstracts of 200–300 words may be submitted before 1 May 2014 to:

Zdravko Blažeković

Research Center for Music Iconography

City University of New York,

The GraduateCenter

365 Fifth Avenue

New York, NY10016-4309

zblazekovic@gc.cuny.edu

Cristina Santarelli

Istituto per i beni musicali in Piemonte

Via Anton Giulio Barrili 7

10134 Torino

cristina.santarelli@tin.it

Further information will be posted at

http://www.ictmusic.org/group/iconography-performing-arts

and

http://www.ibmp.it/entrata.htm

RIdIM Conference 2013

Call for Papers

Association RIdIM (Repertoire International d’Iconographie Musicale), in association with Don Juan Archiv Wien, is organising the

14th International RIdIM Conference on Music Iconography

Visual intersections: negotiating Easterness and Westerness

to be held in Istanbul (Turkey), 5 – 7 June 2013.

The Conference will present recent research on topics related to musical

iconography, with particular attention to the following three themes:

  • Iconography and the study of musical instruments
  • Music iconography of the Middle East, including Byzantine and Ottoman Art and issues related to the exchange between East and West and the discourse on “Exotism” in visual sources
  • The concept of object-oriented analyses in music iconography

Offers of full-length (up to 40-minute) papers and shorter (maximum 15-minute) contributions are invited.  Papers should focus on the presentation of original research and findings, and may be on any topic relevant to the above three themes.

Presentations which incorporate live musical performance will be most welcome but should be presented as a paper-recital or paper-demonstration.

The languages of the abstracts and presentations will be English and / or French. Papers must be delivered in person at the Conference by at least one of the named authors.  There will be a fee for participation in the Conference.

 

The organisers request that abstracts (200 words maximum) of full-length papers and titles of short contributions should be sent by e-mail to conference@ridim.org by 30th November 2012.  Please indicate the length of presentation envisaged.  Acceptance of submissions will be notified to the author by 31st January 2013. Accepted abstracts will be placed on the RIdIM website.

Please include with the abstract

  • a brief curriculum vitae of 100 words maximum,
  • a brief statement in which you express your agreement that your presented conference paper may be published in the conference proceedings prepared by RIdIM.

These two items obviously are not included in the word count of the abstract as above.

Please notify the organisers as soon as possible (preferably by e-mail) if you expect to attend the Conference – whether or not you intend to give a paper – to help with planning, and so that you will then receive further information about the meeting.  Information about the Conference will be maintained on the website

http://www.ridim.org/conferences.php

For further information, please contact RIDIM@sas.ac.uk, indicating in the subject header: “Istanbul Conference 2013”