Reframing the Golden Age Musical: Methods, Sources, Performance

The forth Biennial StageStruck! Conference
An international conference in honor of Prof. Kim Kowalke, President of the Kurt Weill Foundation.
Convenor: Professor Dominic McHugh, University of Sheffield

The Great American Songbook Foundation at The Center for the Performing Arts, Carmel, IN
12 – 14th May 2021

CALL FOR PAPERS – 1 JULY 2020
See below for more information.

Abstract:

Traditional histories of the American musical tend to revolve around the formation of a canon of Broadway shows written roughly between the 1940s and mid-1960s, with Oklahoma! (1943) and Fiddler on the Roof (1964) often cited as terminal works. Other key works during the period include Kiss Me, Kate (1948), Guys and Dolls (1950), My Fair Lady (1956) and West Side Story (1957). The era encompasses the ends of the careers of figures from the previous generation such as Cole Porter, Irving Berlin and Kurt Weill, the peak of the output of Rodgers and Hammerstein and Lerner and Loewe, and the beginning of the creative influence of Stephen Sondheim and Bock and Harnick.

Yet to what extent is the concept of the Golden Age a useful tool for framing musicals, and how can we better understand these ever-present yet curiously elusive works?

In a conference honoring the career of Kim Kowalke (Professor, Rochester, NY; President of the Kurt Weill Foundation), and marking the seventieth anniversary of the death of Kurt Weill, we take stock of existing scholarship on the Golden Age musical and explore ways forward.

The conference also affords the opportunity to celebrate the richness of the Great American Songbook Foundation’s collections on the musical.

The conference will include a keynote from Kara Gardner, author of Agnes de Mille: Telling Stories in Broadway Dance.

Possible lines of enquiry might include:

  • What is the nature of the Golden Age musical?
  • What are the best tools, approaches and methodologies for analysing and examining the Golden Age musical?
  • When did it start to be conceived of as the Golden Age?
  • What are the benefits and pitfalls of the term?
  • What are the major archival holdings on Golden Age musicals?
  • How can we access the Golden Age musical, especially in the case of works that were not filmed and/or recorded?
  • What was the relationship between Broadway and Hollywood during the Golden Age?
  • How can we strengthen relationships between scholars of different disciplines (e.g. musicology and film studies) and between scholars and performers?
  • What impacts, if any, did the Broadway musical have beyond New York (and beyond America) during the Golden Age?
  • How can we avoid the pull of nostalgia in framing the Golden Age musical

Lodging:

Area hotels and group rate information coming soon.

Attendees are responsible for travel & lodging.

Call for Papers:

Proposals for individual papers (20 minutes + 10 minutes of discussion) or for a 90-minute panel (three papers + discussion) should be emailed to Dominic McHugh at d.mchugh@sheffield.ac.uk by 1 July 2020.

Learn about the Great American Songbook Foundation:

The conference will include a showcase of the Great American Songbook Foundation’s holdings on musical theatre, which include the papers of Meredith Willson and Gus Kahn.

Previous Stagestruck! Conferences have been held at the University of Sheffield (2014, 2016) and at the Great American Songbook Foundation (2018).


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).

24th IGEB International Conference on Wind Music

The International Society for Research and Promotion of Wind Music (IGEB) is pleased to invite submissions of proposals, posters, or lecture-performances for the 24th International Conference on Wind Music, to be held in Valencia (Spain) July 23-27, 2020, at “Joaquín Rodrigo” Conservatoire of Valencia and, for the last day, the Societat Musical Santa Cecilia d’Alcàsser.

Main theme- Wind Music: Providing Education & Building Society, Culture and Identity

The relevance of the military and civilian bands in education and their role in building the society, the music culture and the identity, is the main theme of this 24th International Conference. The lecturers are especially invited to submit their proposals within the framework of the following categories:

  • Wind music artistic societies, education and identity.
  • Wind music repertoire, audiences and identity.
  • Wind music teachers, composers and performers.
  • Wind music, cultural environment and identity.
  • Wind music and social development.
  • Wind music and urban soundscapes.

In addition, we also welcome proposals exploring other approaches to wind music, including research in progress.

SUBMISSION OF PROPOSALS AND DEADLINES

DEADLINE: January 31, 2020.

Abstract (250 words) and brief CV should be submitted by e-mail to the Chair of the Scientific Committee (rodriguezgloria@uniovi.es) with copy to Doris Schweinzer (doris.schweinzer@kug.ac.at)

Accepted papers will be notified by April 1, 2020.

IGEB also invites persons interested to chair a session, sending a brief CV to the emails indicated above.

LANGUAGES AND PROCEEDINGS

The official languages of the conference will be English, German, Spanish and Valencià.

The organizers encourage PowerPoint presentations in English. Presentations should not exceed 20 minutes, leaving 10 minutes for discussion.

The organizers will consider papers for future publications in the Alta Musica series.

Presenters and chairs are expected to be members of IGEB.

Registration materials and further information may be found at http://www.igeb.net  and in the IGEB Mitteilungsblatt.

International Conference Rethinking The Three Cornered- Hat a century after

International Conference
Rethinking The Three-Cornered Hat After a century after


Where

Palacio de la Madraza, University of Granada, Spain.

When

3rd – 5th July 2019


Organisation

Fundación Archivo Manuel de Falla/Universidad de Granada/Universidad
Complutense de Madrid/Consejo Superior de Investigaciones Científicas

Collaboration

Festival Internacional de Música y Danza de Granada/Acción Cultural
Española/Ayuntamiento de Granada/Ministerio de Cultura y Deporte-INAEM

Registration and further details

Please, visit our website:

https://sombrero3picos.wixsite.com/congresosombrero

Conference outline


On 22nd July 1919, in the Alhambra Theatre in London, the Diaghilev Ballets Russes premiered
one of the most relevant works in the history of Western dance and music, the international
projection of Spanish culture and the configuration of the Spanishness imaginary. This ballet
was based on the adaptation of Pedro Antonio de Alarcón’s book by María Lejárraga, and had
a score by Manuel de Falla, set and costume designs by Pablo Picasso and a choreography by
Léonide Massine. Since that moment, the ballet has been performed a huge number of times
around the world, with versions by the most significant choreographers, and still lives in the
repertoire of some current dance companies.
Moreover, The Three-Cornered Hat has focused the attention of many critics and scholars, who
have built a large historiography throughout the years, both in Spain and abroad, which might

Società Italiana Di Musicologia. 26th Annual Conference

Matera, Conservatorio di musica “Egidio Romualdo Duni” – Università della Basilicata 18-20 October 2019

The 26th Annual Conference of the Società Italiana di Musicologia (SIdM) will take place in Matera, European Capital of Culture 2019, in collaboration with the Conservatory of Music “Egidio Romualdo Duni”and the Basilicata University from 18 to 20 October 2019. The annual member’s meeting will take place during the conference.
Scholars from all over the world are invited to submit their paper proposals. Every topic in the field of musicological studies is welcomed.
The abstract (no more than 30 lines) should indicate the title of the proposed paper, the state of the art for in the chosen research field, an outline of the project and its specific contribution to the current knowledge.
Along with the text please send also a short CV (max 15 lines) and indicate the A/V equipment required. Please provide your full name, address, phone number, fax number and e-mail address.
Scholars are not allowed to send more than one abstract.
The paper shall not exceed 20 minutes in duration (corresponding to an 8-page text containing to a maximum of 16000 characters). Preference will be given to the proposals of scholars who did not take part in the previous SIdM conference. Please send the proposals to the e-mail address segreteria@sidm.it
All proposal must be received no later than 15th June 2019. Acceptance of papers will be notified by 10th July 2019. For further information about the conference please visit the web site: http://www.sidm.it.

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

The Mediterranean: Migrant Sounds

Location: Valencia, Spain
Dates: July 23–26, 2019

3rd Meeting of the IMS Study Group “Mediterranean Music Studies”
The 3rd meeting of the IMS Study Group “Mediterranean Music Studies” will be held in Valencia, Spain, during the 2nd International Conference of the Associació Valenciana de Musicologia, entitled The Mediterranean: Migrant Sounds, which is taking place from July 23 to 26, 2019.

Conference website: http://avamus.org/en/2019-conference

47th MedRen Music Conference

Location: Basel, Switzerland
Dates: July 3–6, 2019

The IMS Study Group “Musical Iconography” will feature prominently at the 47th Med­Ren Music Conference, hosted by the Schola Cantorum Basiliensis, Basel, Switzerland, in July 2019, with a panel of nine papers (in three sessions): “Early Music Iconography: Methodological Worlds and Cultural Intersections.”

Conference website: https://medren2019basel.com

Atlantic Crossings: Music from 1492 through the Long 18th Century

Location: Boston, USA
Dates: June 7–8, 2019

The IMS Study Group “Early Music and the New World” will hold an open meeting during the session “From Colonies to Republics: Latin American Music in Transition, 1770–1825,” at the international conference Atlantic Crossings: Music from 1492 through the Long 18th Century at Boston University, USA, June 7 to 8, 2019.

Conference website: http://www.bu.edu/earlymusic/2018/09/26/program

Music as Heritage: from Tradition to Product

Central European University invites application to a 10-day summer school held in Budapest on July 1-10, 2019 from practicing professionals as well as graduate students and junior researchers active in the field of research and teaching of related subjects (musicology, ethnography, heritage studies in its broadest sense, management, marketing and tourism studies, minority studies, etc.). Advanced undergraduate students will also be considered.

The course explores various aspects of musical heritage management creating audience development-focused, yet socially conscious business policies – a contemporary and viable approach to responsible arts management. It also includes a field trip providing both a unique opportunity to get further insights into research methods and a real-life experience of traditional music.

Course faculty includes distinguished scholars like Martin Stokes (Department of Music, King’s College London, UK) and Jonathan Stock (School of Music and Theatre, University College Cork, Ireland).

Extended deadline for applications is May 15. More information on the course website .

photo credit: Everengine