Yuri Falik: Metamorphoses of Life And Work

ST. PETERSBURG COMPOSERS UNION

SAINT-PETERSBURG RIMSKY-KORSAKOV STATE CONSERVATORY

RUSSIAN MUSIC RESEARCH INSTITUTE AT LINYI UNIVERSITY (CHINA)

International Musicological Conference and Roundtable

dedicated to the memory of Y. A. Falik (1936–2009)

December 13th -15th 2019, St. Petersburg, Russia

Yuri Alexandrovich Falik (1936-2019) – People’s Artist of Russia, internationally renowned composer, orchestral conductor, and a public figure, Professor of Composition and Instrumentation at the St. Petersburg State Conservatory. The composer’s artistic legacy includes choral, orchestral and chamber instrumental music, several works for musical theater, and a number of sacred works. Many of Falik’s compositions became the staple of the repertoire of many performing ensembles in Russia and abroad, earning him a well-deserved fame.

Y.A. Falik’s colleagues, students, and friends remember him as an artist and intellectual who embraced everything new. At the same time, Falik’s artistic professionalism is deeply rooted in tradition, austerity, and self-discipline. All of these characterize the personality of a great artist, for whom technical considerations were secondary to the embodiment of an artistic concept.

The conference’s title resonates with the title of Falik’s autobiographical book in a form of the dialogues. Organizers of the conference conceived of this forum as a continuation of the dialogue and, simultaneously, as an attempt to comprehend the phenomena of the personality and oœvre of Y. A. Falik within the categories specified by the composer himself.

The Program Committee invites participation of musicologists, composers, performers, music educators, and graduate students, as well as independent scholars and archivists. The presentation topics may include the following:

  • Falik’s work in the context of musical culture of the 20th-21st centuries
  • Falik and the St. Petersburg compositional school
  • The composer`s personality and biography in memoirs of contemporaries, friends, colleagues, and students
  • The work of Y. A. Falik at the intersection of tradition and innovation
  • Main stages of the composer’s creative evolution: the problems of periodization of Falik’s oœvre
  • Falik as composer and performer: The interaction between the two sides of his artistic persona
  • Musical-aesthetic and pedagogical views and principles of Y. A. Falik
  • Falik’s creative methodology and compositional technique  
  • Major themes in the works of Y. A. Falik
  • Falik’s interpretation of a “concert style” concept in works in different genres
  • Orchestral and instrumental chamber music
  • Vocal chamber and choral music
  • Genre paradoxes in Y. A. Falik`s works
  • The role of Russian Silver Age poetry in the composer’s oœvre
  • Falik’s musical theater
  • Performance as interpretation of Y. A. Falik`s music

The duration of presentations is limited to 20 minutes.

The main language of the conference is Russian; however, submissions in English are also invited. Interested scholars who will not be able to attend are invited to send their paper to be read at the conference. All presenters will receive a certificate of participation.

Participation proposals should be sent by email to kle-zemer@bk.ru.

The abstract must not exceed 500-1000 characters.

The deadline for submissions is December 1st, 2019.

When submitting your abstract, please include the following information:

  1. First and last name
  2. Title of the paper
  3. Academic degree
  4. Academic position
  5. Country, city
  6. Home institution
  7. Phone number including country and city code
  8. Email address
  9. Abstract (500-1000characters)

Other information:

  • The conference will take place at the Composers’ House, Bolshaya Morskaya Street, 45, St. Petersburg, 190068, Russia.
  • There is no registration fee. All conference events are free of charge for the presenters. While the organizers cannot offer any travel grants or accommodation discounts, we will be happy to offer practical advice when you make your travel arrangements. A personal invitation to the conference will be sent upon request.
  • There are plans to publish conference proceedings. Participants should send their papers  (15000 characters or less) to kle-zemer@bk.ru. The deadline is  June 1st, 2020. The program committee reserves the right to edit all submissions.
  • The style guide will be available after the conference.

Program Committee:

Iosif Raiskin – musicologist, music critic, Chair of Musicology and Music Criticism section at the St. Petersburg Composers Union

Tamara Tverdovskaya –PhD in musicology, Vice-Rector of Research at the St. Petersburg Conservatory

Evgeny Khazdan – composer, Head of the Music Fund of the Jewish Community Center of St. Petersburg

Eugeni Petrov – composer, Associate Professor of Instrumentation and Non-Major Composition Department of the St. Petersburg Conservatory.

Sergei Ekimov – composer, choral conductor, Professor of Russian State (Herzen) Pedagogical University; Head of the Academic Choral Department, Faculty of Arts, St. Petersburg State Institute of Culture.

Olga Usacheva – PhD in musicology, Deputy Director of Russian Music Research Institute at Linyi University (China)

Music and Political Democratisation in Late Twentieth Century

Call for Papers

Music and Political Democratisation in Late Twentieth Century

18-19 June 2020

University of Huddersfield

https://musicdemocracystudydays.wordpress.com/cfp-study-days-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), these study days place 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, these study days also seek 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 culture in a transition to democracy?
We invite proposals from scholars working in any discipline for papers exploring these and related questions in relation to any musical practice. Papers will be 30-minutes in length followed by 15 minutes of discussion time, to enable the fullest exchange. Please submit proposals (250-300 words) to I.ContrerasZubillaga@hud.ac.uk by the deadline Friday 31 January 2020. The programme will be announced in early March.

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.

Music in Transmission: Teaching and Learning Traditional Music Today

Important dates

Abstract submission deadline: 30 April 2019
Notice of acceptance deadline: 15 May 2019
Full papers for reviewed publication submission deadline: 30 June 2019
Symposium date: 12 September 2019

The International Shakuhachi Festival Prague 2019, September 12 – 16, is an event dedicated to cultural and artistic exchange between Japanese and European contemporary music. Over the twelve years of its existence, it has become an important artistic, networking and educational platform for musicians, composers, scholars and artists. Its long-term goal is to expand its audience perception for sound.

Transmission of traditional music in modernizing and globalizing world has been an issue in various fields of music studies for several decades. In ethnomusicology, the discourses have historically entertained the notions of ‘preservation’ and ‘authenticity’ and ‘continuity’, of the ‘formal’ and the ‘informal’, of the ‘oral’ and the ‘visual’ or even of ‘cultural appropriation’ and ‘resistance’. Various traditional cultural institutions of musical transmission have been studied to understand both continuity and change under the conditions of globalization. New sites and ways of teaching and learning traditional instruments and singing techniques have constantly appeared in the globalizing world, especially in its better connected and more affluent parts, opening up the possibilities for fresh research perspectives.

Moreover, the technological boom has enabled an unprecedented availability of musical recordings, video tutorials and sophisticated music software enabling thus the potential for learning and/or reviving any kind of music in the world. Yet, the intimacy between the teacher and the learner, the oral transmission face to face, is still greatly appreciated and usually seen as indispensable for acquiring ‘the knowledge’ of an instrument or a singing technique in full. Indeed, neither an instrument, nor a voice are a ‘thing’, they are both always already cultured and socialized, and active actors playing their role in embodiment of the musical tradition and the culture they belong to.

What is this ‘knowledge’ musicians desire to teach and learners seek to learn today? Why do they do it? To what extent do they share or differ in their perspectives? How do various technologies influence the teaching/learning process today? What does the ‘mastering’ of a traditional instrument or a voice actually mean today? Who is the judge – the teacher, peer-musicians, the audience (and who is the audience)? What does teaching/learning traditional music entail and perhaps offer in the cross-cultural perspective? Does an instrument or a singing technique have an agency? How does an instrument ‘play’ the musician and how does a voice ‘sing’ her or his body? What is the role of institutions both ‘informal’ and ‘formal’ in the process of teaching/learning and what are the relationships between them in particular contexts? And why, in the first place, do people – still and anew – teach and learn ‘traditional music’ in the ‘modern world’?

CALL FOR PAPERS

Music in Transmission:

Teaching and Learning Traditional Music Today

Single day symposium
September 12, 2019
Prague, Czech Republic

Researchers in (ethno)musicology, music ethnology/folkloristics and music education as well as theorizing and reflective music teachers, learners and practitioners are encouraged to submit their proposals for 20-minute-long individual presentations which will be followed by a 10-minute-long discussion. Experience-based and ethnographic case studies- based presentations are particularly welcome. The abstracts must not exceed 300 words.

Selected papers with topics falling within the scope of musicology, ethnomusicology, organology and music theory will be published upon peer review in Živá Hudba/Living Music Review, the journal of the Music and Dance Faculty of the Academy of Performing Arts in Prague.

Written papers, however, are not mandatory for the symposium presentations.

This symposium will be conducted in English.

More about the symposium.

Abstract formal requirements

Range: Maximum 300 words
Presentation format:  20 min + 10 min

Register for the Symposium online at https://isfp.cz/about-symposium/open-call/

Download Open Call in PDF: Open Call 

Symposium Committee

Marian Friedl, Department of Musicology, Palacký University Olomouc

Vít Zdrálek, Institute of Musicology, Charles University

Jakub Míšek, NEIRO Association for Expanding Arts

Paper formal requirements and submission

Please see website of ŽiváHudba/Living Music Review:

Should you have any questions about the paper publication, please contact Jakub Míšek at jkb.misek@mail.muni.cz.

Symposium Fees and Registration

Speaker fee: 40 EUR
Visitor fee: 10 EUR (students for free)

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

International Conference “Rethinking The Three-Cornered Hat A Hundred Years Later”

Palacio de la Madraza, University of Granada, Spain, 3rd – 5th July 2019 – Deadline: March 1st 2019

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
be advisable to review. The work becomes a relevant and complex creation where concepts such as the construction of stereotypes, the national identity, the authentic, the popular, and the joining of tradition and avant-garde are interwoven. Not many works have had such an impact on the spreading of the Spanish dance beyond its borders, of Picasso’s aesthetic innovations where his paintings had never been shown before, of Falla’s music, which has been played and versioned over and over again, being submitted to a constant process of resignification.


Therefore, this international conference proposes celebrating the centenary of this milestone which allowed the convergence of so many prominent Spanish and international artists, studying its world impact and assessing its contributions in dance, music, visual arts and literature.
With all these objectives, this scientific meeting is settled from an interdisciplinary perspective, which gathers the most recent research in dance history, musicology, history of art and philology, but also in other related areas, like sociology, philosophy, anthropology, communication, fashion, etc.


Papers may address, but are not limited to, the following topics: – Analysis of different aspects in choreography, musical language, scenography, costume design, and libretto of the original The Three-Cornered Hat version of 1919. – Study of the impact and critical fortune that The Three-Cornered Hat had in the different places where it has been performed. – Convergence of the work with other artistic international movements in the same historical and cultural context. – Analysis of the different The Three-Cornered Hat versions up to the present. – Influence of The Three Cornered Hat in the 20th and 21st centuries. – Spanishness in The Three-Cornered Hat and its derivations.

PAPER PROPOSALS The oral presentations will have a duration of 15 minutes. Papers will be admitted in Spanish, English and French. For submitting a proposal, an abstract of a maximum of 2,000 characters and a brief CV are to be submitted to sombrero3picos@ugr.es before 1st March 2019. The selection of papers by the Scientific Committee will be communicated by mail and will be considered for publication.

CONFIRMED SPEAKERS

Juan Aguilera Sastre (IES Inventor Cosme García, Logroño)
Antonio Álvarez Cañibano (Centro de Documentación de Música y Danza – INAEM)
Miguel Cabañas Bravo (Instituto de Historia, Consejo Superior de Investigaciones Científicas) Eugenio Carmona (Universidad de Málaga)
Emilio Casares Rodicio (Universidad Complutense de Madrid)
Michael Christoforidis (University of Melbourne)
Chris Collins (Bangor University)
Lynn Garafola (Columbia University, Nueva York)
Mª Luz González Peña (Archivo SGAE)
Carol A. Hess (University of California Davis)
Beatriz Martínez del Fresno (Universidad de Oviedo)
Elna Matamoros Ocaña (Compañía Nacional de Danza)
Antonio Najarro (Ballet Nacional de España)
Yvan Nommick (Université Paul-Valéry de Montpellier III)
Emilio Peral Vega (Universidad Complutense de Madrid)
Gemma Pérez Zalduondo (Universidad de Granada)

INFORMATION All the questions should be sent to: sombrero3picos@ugr.es Web: https://sombrero3picos.wixsite.com/congresosombrero

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

Bach Network Dialogue Meeting 2019

The ninth Bach Network Dialogue Meeting will be held at the historic house of Madingley Hall, Cambridge, from Monday 8 to Saturday morning 13 July 2019, with the formal programme running from the afternoon of Tuesday 9 to Thursday evening 11 July. By popular request we have again included a day before and after the formal programme, to facilitate networking, research discussions and the practicalities of travel.

The full programme can be accessed here.

The programme will feature sessions on a range of current topics, including the Bach 333 project, Bach and materiality, the Art of Fugue, Bach’s chorale pedagogy, musical authorship, and Bach’s contemporaries, as well as our ever-popular Early Career Forum and Flash Announcement session. Presenters and panellists will include Christine Blanken, Isabella van Elferen, Nicholas Kenyon, Kevin Korsyn, Michael Marissen, Paul Moseley, Derek K. Remeš, Barbara M. Reul, Stephen Roe, Stephen Rose, Joel Speerstra, Ruth Tatlow, Bettina Varwig, Christoph Wolff and Steven Zohn. In addition, we are delighted to welcome renowned harpsichordist Mahan Esfahani for an evening lecture recital, and director Paul Spicer to lead a choral singing session.

The schedule is designed with generous open discussion time, to give every delegate an opportunity to engage with the subjects. Every registered delegate is invited to speak for five minutes about their current research at the Flash Announcement Session. We encourage doctoral and post-doctoral students to present a short summary of their research topic at the Early Career Forum. There will also be time over meals and in the wonderful gardens to continue discussions informally.

Please register at www.bach2019.eventbrite.com

Contact: Mark Seow, Administrator of Bach Network Dialogue Meeting 2019
seow.bachnetwork@gmail.com