Music Patronage in Italy from the 15th- to the 18th- Century

Call for Papers

The Centro Studi Opera Omnia Luigi Boccherini of Lucca is pleased to invite submissions of proposals for the symposium «Music Patronage in Italy from the 15th- to the 18th- Century», to be held in Lucca, Complesso Monumentale di San Micheletto, from 16 to 18 November 2019.

During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. Predominantly in the courts – ecclesiastical or secular – the ‘patron’ is a rich person, usually noble, who offers protection and money in exchange for a service. The musician s work on commission, in keeping with the requests of their patrons. Although the artists of the referred period managed to express themselves in works of excellent craftsmanship , it is undeniable that the system repressed or at least channelled their creativity. There is in fact a master-servant relationship between patrons and salaried workers and, although the exposure to each other was close and often collaborative, it is inappropriate to think of an equal relationship.

There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies .

This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. Musical activity then began to obey the laws of the marketplace, with substantial repercussions on the social status of the musician and his work.

This conference focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. The programme committee encourages submissions within the following areas, although other topics are also welcome:

– Patronage and institutions

– The private sphere of patronage

– Music Patronage and the Church

– Patronage and musical genres

– Patronage and censorship

– The patronage system and the social status of the musician

– Patronage and musical print

– Patronage and manuscript production

– Patronage and musical collecting

Programme Committee: 

• Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini)

• Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini)

• Massimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini)

Keynotes Speakers:

Iain Fenlon (University of Cambridge)

Reinhard Strohm (University of Oxford)

The official languages of the conference are English and Italian. Papers selected at the conference will be published in a miscellaneous volume.

Papers are limited to twenty minutes in length, allowing time for questions and discussion. Please submit an abstract of no more than 500 words and one page of biography.

All proposals should be submitted by email no later than ***Sunday 14 April 2019*** to <conferences@luigiboccherini.org>. With your proposal please include your name, contact details (postal address, e-mail and telephone number) and (if applicable) your affiliation.

The committee will make its final decision on the abstracts by the end of April 2019, and contributors will be informed immediately thereafter. Further information about the programme, registration, travel and accommodation will be announced after that date.

For any additional information, please contact:

Dr. Massimiliano Sala

conferences@luigiboccherini.org

http://www.luigiboccherini.org

Work & Play: Economies of Music

Work & Play: Economies of Music

The Harvard Graduate Music Forum Conference    •    20–21 February 2015

Keynote:  Robin James (UNC Charlotte)

Round Table:  Verena Andermatt Conley, Robin James, Sindhumathi Revuluri, Kay Kaufman Shelemay

 

– Call for Proposals –

This interdisciplinary conference takes as its premise that music is inseparable from the economic conditions of its production and consumption. Through presentations, lecture-recitals and composers’ colloquia, we seek to explore the intersections of music and economics from a diverse array of perspectives including labor, practice, material culture, and capital.

Questions include but are not limited to:

  • How do musicians and their employers understand musical labor, and how does this impinge on issues of amateurism, professionalism, and institutionalization?
  • How have shifting economic systems — for instance, from patronage to mass consumption, or from liberalism to neoliberalism — altered the place of music in society?
  • How have issues such as postcolonialism, the North-South economic divide, and globalization, intersected with various musical practices to forge divergent models of economies of music?
  • Where does music succeed and where does it fail in transforming economic relations?
  • What are the economic consequences of the material means of musics’ dissemination, such as manuscripts, published scores, phonograph recordings, streaming and live performance?
  • How do questions of cultural and economic capital combine in appraisals and contestations of musical value?
  • How has music symbolically represented economics and status? What is music’s role in this endeavour today?

– Submissions –

We welcome submissions from current graduate students on these and related topics. We seek proposals on all repertoires, musical practices and historical periods, and representing a broad set of methodologies. Formats for presentation include:

  • 20-minute papers, audiovisual presentations, or exploratory text works, with 10 minutes for discussion
    Please submit abstracts of a maximum of 350 words and, where appropriate, up to 4 additional pages for figures. Please add a short statement regarding AV requirements.
  • 30-minute composer colloquia, performances, or lecture-recitals, with 15 minutes for discussion
    Please submit details of the work to be presented in a maximum of 350 words and, where appropriate, links to relevant sound recordings and/or scores or supplementary documentation.

Deadline for proposals: 5 December 2014

Please e-mail submissions to: harvardgmf2015@gmail.com

For more information please visit: http://projects.iq.harvard.edu/gmf2015